CHAPTER XVIII.

_CONTEMPORARIES OF JOHN LEECH: RICHARD DOYLE AND JOHN TENNIEL._

We gather from the article in "The Month" which followed his death, and to which we have to acknowledge materials of which we have availed ourselves in the revision of the present chapter,[186] that Richard Doyle's first work was _The Eglinton Tournament, or the Days of Chivalry Revived_, which was published when he was only fifteen years old. Three years later he produced _A Grand Historical, Allegorical, and Classical Procession_, a humorous pageant which the same authority tells us combined "a curious medley of men and women who played a prominent part on the world's stage, bringing out into good-humoured relief the characteristic peculiarities of each." Apart from his talent, it was no doubt the fact of his being his father's son--the son of John Doyle, the once famous and eminent HB--which first attracted the attention of the promoters of _Punch_, and he was only nineteen when, in 1843, he was taken on the regular pictorial staff of that periodical. It was to the cheery, delightful pencil of Richard Doyle that the paper owed much of the popularity which it subsequently achieved.

"It was from his father that he not only inherited his artistic talent, but received, and that almost exclusively, his artistic training." The writer in "The Month" goes on to tell us that John Doyle would not allow his son "to draw from models; his plan was to teach the boy to observe with watchful eye the leading features of the object before him, and then some little time after reproduce them from memory as nearly as he could.... He had no regular training in academy or school of art; he painted in the studio of no master save his father; and it is curious to see how his genius overleapt what would have been serious disadvantages to an ordinary man.... He attached himself to no school; he was not familiar, strange to say, with the masterpieces of foreign artists. He had never been in Paris, or Rome, or Vienna." It will be well for the reader to bear this in mind, because Doyle is one of the few book illustrators or etchers whom the professional art critic has condescended to notice, and it will enable him the better to understand and appreciate the soundness of his criticism. No one, we are told, owed less than Richard Doyle "did to those who had gone before him; and if this rendered his works less elaborate and conventional, it gave them a freshness and originality which might have been hampered if he had been forced into conformity with the accepted canons of the professional studio."[187] The writer of the article from which we have quoted would seem to have read what Mr. Hodder has told us respecting his friend Kenny Meadows, for the following is certainly not new to us: "He was not a self-taught artist, for he was trained by one who had a genius kin to his own, but he was an artist who had never forced himself into the observance of those mechanical rules and canons which to ordinary men are necessary to their correct painting (just as rules of grammar are necessary to correct writing), but hamper and trammel the man of genius, who has in himself the fount whence such rules proceed, and instinctively follows them in the spirit, though not in the letter. So far as they will forward the end he has in view, and no farther."[188] It will be seen by the above that the kindly writer gives Doyle credit for _genius_, and we who are strictly impartial will cheerfully admit that if he had not positive genius,--which we somewhat doubt,--he was certainly one of the most genial and graceful of comic designers.

It was _Punch's_ practice during the earlier years of his career to produce a new cover with each succeeding volume.[189] Richard Doyle, however, signalized his accession by the contribution of a wrapper which was considered too good to be thrown aside at the expiration of a few months. The well known and admirable design was stereotyped, and still forms, with certain modifications, the permanent cover of _Punch's_ weekly series.

Specially worthy of note amongst his _Punch_ designs may be mentioned _The Napoleon of Peace_ (Louis Philippe), and _The Land of Liberty_, "recommended to the consideration of Brother Jonathan." In the latter, allusion is made to the Mexican war, rifle duelling and rowdyism, repudiation, Lynch law, and the then but no longer "peculiar institution." These will be found in the thirteenth volume, with a design of great excellence, _Punch's Vision at Stratford-on-Avon_, supposed to occur in the house of Shakespeare.

A new English (?) party had been growing up and gradually forcing itself into English politics. This was the Peace-at-any-price party, the members of which, oblivious of the fact that the best preservative of peace is to be found in a perpetual state of readiness for war, erased from their minds all remembrance of the position won for the nation by our glorious army and navy, and ruled that national honour and national obligations must now be considered subordinate to the interests of peace, trade, and commerce. Conspicuous among these men of the new school was Mr. Cobden, an able, earnest, but (so far as our foreign policy was concerned) thoroughly mistaken enthusiast. He figures as "Peace" in Doyle's cartoon of _John Bull between Peace and War_ (_i.e._ the Duke of Wellington). In _Gentlemen, make your Game while the Ball is Rolling_ (1848), the best cartoon ever designed by Richard Doyle, the various European monarchs are engaged at _roulette_ under the auspices of _Punch_ himself. The ball is the world, and the edges of the board are respectively inscribed, "Reform," "Progress," "Republicanism," "Equality," "Constitutional Government." "Anarchy," and "Liberalism." Bomba of Naples having staked a large sum, he and other monarchs follow the erratic movements of the ball with absorbing attention. In the background may be seen the then Queen of Spain and Louis Philippe, who, having staked their all and lost, are just leaving the apartment. Another, following up the same subject, is the political sea serpent of "Revolution" suddenly appearing above the surface of the sea and upsetting, one after another, the cockle-shell boats in which the various European sovereigns are endeavouring to get to shore. The writer in the Catholic "Month" points out the fact that "this picture was drawn in the earlier part of the year, before the Roman revolution, and the Holy Father was still riding safely unharmed by the monster which is working havoc in France and Germany, and Austria and Spain." In _The Citizen of the World_ we find a capital skit upon the "admirable Crichton" delusion which made my Lord Brougham fancy himself in every character he chose to assume, or on any subject to which he condescended to give his attention, _facile princeps_. Here we find him figuring in turn as an English Lord Chancellor, a German student, a French subject, a French National Guard, an American citizen, a Bedouin Arab, a Carmelite monk, a Chinese mandarin, an Osmanli, a red Indian, a Scottish shepherd, and by the unmistakable nose and self-complacent smirk on his countenance, it is clear that in each and every character Henry Lord Brougham feels himself thoroughly at home. _The Sleeping Beauty_ is a clever composition. "Beauty," by the way, is Lord John Russell, and amongst the sleeping attendants may be recognised the Duke of Wellington, Benjamin Disraeli, Colonel Sibthorpe, and Lord William Bentinck; while the ever indispensable Brougham of course puts in an appearance, this time in the character of a jester.

Richard Doyle, as we have seen, was young when he joined the ranks of the _Punch_ staff. Young men are apt to "dream dreams," and one of Richard Doyle's was in truth a charming one. In _Ireland: a Dream of the Future_, he shows us our Queen gazing into the depths of an Irish lake, wherein she beholds prosperous towns, smiling fields, a contented peasantry, flourishing homesteads, a land flowing with milk and honey. On the opposite bank sit in dreary solitude a starving cottier and his family. This was Richard Doyle's dream in 1849. He did not live to wake to the reality of 1884: half a dozen "Gladstone" bags filled with American dynamite, the property of subjects of a republic who allows her mongrel murderers to plot the deaths of thousands of the people of a friendly nation without lifting a hand or a finger to restrain them. A home government too weak to pass a law which would stop these outrages by hanging these foreign miscreants as high as Haman. These formed no part of course of the young artist's dream. He delighted in sunshine. The year 1850 was memorable for the repeal of the window tax, one of the most extraordinary impositions which ever crossed the inventive mind of a Chancellor of the Exchequer. "Hollo! old fellow," says a workman to his family, hailing the unwonted appearance of the sunbeams in their dark and dreary apartment, "Hollo! old fellow; we're _glad_ to see you here."

Among the numerous illustrations which Doyle designed for _Punch_, probably the most original were the series entitled "Manners and Customs of ye Englishe," which, under the title of "Bird's-eye Views of English Society," he afterwards continued in the _Cornhill Magazine_ in a more elaborate form. The "Manners and Customs" form a curious record of the doings of the period, and remind us of "Sam Cowell" and the cider cellars, the Jenny Lind mania, Julien and his famous band, Astleys, the Derby day, and many of the forgotten scenes and follies in which some of us may have mingled in days gone by. They are very clever so far as they go; but none of them, as the writer in "The Month" would have us believe, are at all "worthy of" or in any way remind us of "Hogarth" (why are all the writers on _comic_ art immediately reminded of Hogarth?). "Each face in one of these pictures--_A Prospecte of Exeter Hall, showynge a Christian Gentleman denouncynge ye Pope_," says the same writer--"deserves a careful study, and tells the tale of bigotry, prejudice, and gaping credulity which has made Exeter Hall a bye-word among men." Although we agree with the writer on this subject, we would at the same time take leave to remind him that the Catholics are singularly fortunate in England compared with the religious freedom or tolerance enjoyed by Protestants in Catholic countries--in Italy for instance, or in Spain. As for "bigotry," let him look only at Catholic France during the reign of priestcraft there, where an actor of the position of Talma, writing with reference to a proposed monument to his English brother, John Kemble, could add by way of shameful contrast, "Je serai trop heureux _ici_ si les pretres _me_ laissent _une tombe dans mon jardin_!"

When we first completed this chapter, and while the artist was yet living, we deemed it better to say as little as possible in reference to the conscientious motives which induced him to throw up his lucrative position on _Punch_, and with it the whole of his splendid prospects in comic art; and this course we had decided to follow after Richard Doyle had been removed from us by death. As, however, the Catholic organ has entered fully into the subject, not only is every cause for further reticence removed, but by being placed in a position to understand causes and motives, we are enabled to do justice to the memory of this most generous and unselfish of men.

The Catholics have cause to feel satisfied with the results of what the benighted Protestants of England are apt to term the "Papal Aggression." The conduct of the latter in relation to this portentous event is thus described by "The Month":--"In 1850 the Catholic Hierarchy was established in England, and the Protestant public raved and stormed and talked bigoted nonsense without end respecting this new invasion. Parliament passed the futile and obsolete Ecclesiastical Titles Bill, and _Punch_ took up the popular cry. Cardinal Wiseman was represented as 'tree'd' by the Papal bull, and comic verses and personal ridicule was lavished on the Pope, the new hierarchy, and Catholics generally.

"Doyle remonstrated, but received answer that, as he had been allowed to turn Exeter Hall and its doings into ridicule, it was only fair that his own opinions should have their turn. But those who used this argument little knew, and could scarcely be expected to know, the difference between the devotion of supernatural faith and the bigotry of a self-chosen creed. Doyle was anything but narrow or over-scrupulous. It was not any of the cartoons which was the immediate occasion of the step that he took, nor was it (as some of the notices of him have intimated) any mere personal attachment to Cardinal Wiseman. 'I don't mind,' he said, 'as long as you keep to the political and personal side of the matter, but _doctrines_ you must not attack.' Douglas Jerrold and Thackeray were not likely to appreciate this reversal of the general sentiment, which resents personal attack above all else. 'Look at the _Times_,' they argued; 'its language has been most violent, but the Catholic writers on its staff do not for that reason resign. They understand, and the world at large understands, that the individual contributor is not responsible for the opinions expressed by other contributors in articles with which he has nothing to do.' 'That is very well in the _Times_,' was Doyle's answer, 'but not in _Punch_. For the _Times_ is a monarchy [we believe these were his very words], whereas _Punch_ is a republic.' So, when a week or so later an article, attributed to Jerrold himself, jeeringly advised the Pope to 'feed his flock on the wafers of the Vatican,' it was too much for Doyle. Dignified protest was not sufficient now. To be any longer identified with a paper which could use such language was intolerable to the faithful soul. To ply his skilful fingers and busy inventive brain in behalf of those who scoffed at the Blessed Sacrament of the Altar was out of the question. His connection with _Punch_ must cease. But is he bound in conscience to throw away a good income and congenial work, because there were expressed opinions different from his own in a paper in which, republic though it was, solidarity was scarcely possible? Who would expect that in a comic journal each and all of the contributors should agree with each and every sentiment expressed? Never mind; whatever Richard Doyle might have been strictly bound to do, generosity at least urged him to make the sacrifice--the sacrifice of his career, of his future success it may be. At least he could show that Catholic belief was no empty superstition, no set of mere traditional observances, which sat lightly on the man of culture, even if in his heart he accepted them at all. So he wrote to resign his connection with _Punch_, stating the reasons plainly and simply. This was in 1850, after he had been contributing for more than six years. Now he must simply start afresh, in consequence of what his Protestant friends regarded as an ecclesiastical crotchet. He must turn aside from the path of worldly success; he must give up all for conscience' sake. But as the _Daily Telegraph_ remarks, in an article respecting him that does it honour, 'He made a wise and prudent choice. The loss was ours, not his; and, apart from the claims of his genius to admiration, such conduct at the critical moment of a career will never cease to command respect.'"

Passing by (as we may afford to do) the assertion that we Protestants "raved and stormed and talked bigoted nonsense without end respecting this new invasion," and the somewhat unnecessary boast that Lord John Russell's Ecclesiastical Titles Bill has been suffered to become a "futile and obsolete" measure, we would recognise the value of the writer's remarks as establishing in the clearest possible manner the perfect honesty and unselfishness of the motives which induced the artist to resign his connection with _Punch_, and to throw up the chances of an assured and brilliant future. We think however, that the value of his statement does not end here. We may here acknowledge that, while admitting the perfect purity and disinterestedness of Doyle's motives, we ourselves never thoroughly understood them until we had read the article from which we have quoted. We had taken into consideration the fact that when he took this decided step he was but twenty-five years of age, and we suspected (let us honestly own it) that other influences might have been at work independent of the artist himself, of which we as Protestants must always remain ignorant. There are grounds on which Protestant and Catholic writers may meet one another even in connection with religious questions; and although a "bigoted" Protestant, I am glad to admit that the writer's clear and lucid statement has removed an impression that was absolutely without foundation.

With respect, however, to the ultimate consequences of this decisive step, the Catholic writer and ourselves are wholly at variance. "We are inclined to believe," continues the former, "that apart from the respect he earned by his noble sacrifice, Mr. Doyle achieved a higher reputation in consequence of his retirement from comic journalism, than if he had continued to employ his pencil in its services all his life through. It is true that his name was not, towards the end of his life, so familiar to the popular mind of England as was that of John Leech at the end of his career, and as that of Du Maurier at the present time, but the work which he did in his later life was more lasting and more world-wide. _Punch_ is an English periodical; you must be an Englishman to understand the allusions. The humour is essentially and almost exclusively English; it would never attain any great popularity in other English-speaking nations, in spite of its undoubted claim to be the first comic journal in the world. If Doyle had confined himself to the pages of _Punch_, or directed his energies mainly to the weekly issue of some design in its numerous columns, the limnings of his pencil would scarcely be known outside of England, whereas all over the continent of America, and in the English colonies, the old Colonel Newcome, and the Marquis of Farintosh, Lady Kew, and Trotty Veck meet us with their familiar faces as we turn over the Transatlantic editions of Thackeray and Dickens, not to mention the exquisite paintings, of which we shall have more to say presently, exhibited in the Grosvenor Gallery, and to be found in many a country mansion as a lasting memorial of Dicky Doyle." Does the writer seriously mean to tell us that Doyle could not illustrate Thackeray and Dickens at the same time and side by side with his illustrations for _Punch_ or any other serial of a satirical character? Granted that _Punch_ is a periodical appealing to English tastes and sympathies, yet it was through the introduction obtained by means of its pages that the artist probably obtained employment upon the very works to which the writer refers, and upon which (as he claims) his reputation will rest.

Nor do we, nor can we, admit that, out of the circle of his coreligionists, or the still narrower circle of educated unbiassed minds, Doyle reaped much respect by the "noble sacrifice" of which the writer speaks. English prejudice looks with special coldness on conscientious motives it does not understand, and with which it can have but little sympathy. Doyle was a man of purer motives and finer sympathies than George Cruikshank; but the same insular prejudice which conduced to the ruin of George Cruikshank, wrecked the future prospects of an artist almost as original in some respects as the more brilliant George. From the moment that Doyle retired from _Punch_, English fanaticism and English prejudice persisted in regarding him as a supporter of the "Papal aggression," and he permanently lost from that moment the ground which his talent and his reputation had so honourably won for him. From the moment he deemed it his duty to retire from the circle of literary and artistic wits and humourists with whom he was then associated, he took himself practically out of the range of comic art, and the public ceased to trouble itself about him, although it had lost (in the expressive language of Mr. Thackeray) "the graceful pencil, the harmless wit, the charming fancy," of one of the most genial and promising of English graphic satirists of the modern time. Before he left _Punch_ he had executed for the periodical upwards of five hundred illustrations, of which nearly eighty are cartoons.

But Richard Doyle manifested the honesty of purpose which was a part of his noble nature by other sacrifices than his retirement from _Punch_. From the friendly hand which has strewn flowers upon his grave, we learn that at one time he was offered a handsome income to draw for a periodical started some years ago, but declined the engagement because he disapproved of the principles of those by whom it was conducted. "At another he had a similar offer made him by a distinguished statesman on behalf of a political journal, in which the work would have been light and the remuneration excellent." He was offered his own terms to illustrate an edition of Swift's humorous works; but here too he refused, because he did not admire the morality of the witty Dean of St Patrick's. "In these and other cases like them, religion, virtue, high principle, carried the day against interests which would have proved too much for any but a man of Doyle's noble and lofty character." His biographer points out the fact that all this while he had to look to his pencil for bread, and denies the statement, made by one of the leading newspapers at the time of his death, that during the latter part of his life he was independent of his profession.

In one set of illustrations, now very scarce and little known, Doyle has shown that he possessed eminent powers as a caricaturist. We have a set of lithographs before us, entitled, "Rejected Cartoons," a sort of pictorial "Rejected Addresses," supposed to be intended for the then new Houses of Parliament, some of them caricatures of the works of living artists--Maclise, Pugin, etc., whose styles are closely imitated and most amusingly burlesqued. Some of them are irresistibly droll, such as King Alfred sending the Danes into a Profound Slumber with the Sleepy Notes of his Harp; "Canute reproving the Flattery of his Courtiers;" The Faces of King John and his Barons at the Signing of Magna Charta; Perkin Warbeck in the Stocks; The Meeting of Francis and Harry in the Field of the Cloth of Gold, etc. Few people with whom the touch of Richard Doyle is perfectly familiar would recognise his hand in these amazing and amusing cartoons. We met with them at a bookstall twenty years ago, unconscious until lately that they were due to his pencil.

The once celebrated "Adventures of Brown, Jones, and Robinson" would alone secure for this artist an eminent position amongst the number of English comic designers. Graphically relating the experiences of the most ordinary class of continental tourists, they cannot fail to bring to the recollection even of the most commonplace traveller some of the experiences which may have actually happened to himself. Doyle of course enlarges on these experiences as his fancy and imagination suggest; but after all, there is little which might not have actually befallen any ordinary English travellers such as this unlucky trio. The episode of "Jones's Portmanteau undergoing the ordeal of Search" at Cologne; The scene at the "Speise-Saal" Hotel; The Jewish "Quarter of the City of Frankfort, and what they saw there"; The Gambling Scene at Baden: The Descent of the St. Gothard; The Academia at Venice; will appeal to the actual experiences of nearly every continental tourist; and notwithstanding its extravagant drollery, little Browne's adventure at Verona is sufficiently possible to remind one of personal vicissitudes encountered off the track or on the frontiers, which might almost match the experiences of this personally uninteresting little sketcher.

Besides _Punch_, Mr. Doyle's hand will be found in the following:--"The Fairy Ring," Leigh Hunt's "Jar of Honey," Professor Ruskin's "King of the Golden River," Montalba's "Fairy Tales from all Nations," "Jack and the Giants," "The Cornhill Magazine," "Pictures from the Elf World," "The Bon Gaultier Ballads," Thackeray's "Rebecca and Rowena," Charles Dickens's "Battle of Life," "The Family Joe Miller," Mr. Tom Hughes' "Scouring of the White Horse," "Pictures of Extra Articles and Visitors to the Exhibition," Laurence Oliphant's "Piccadilly," "Puck on Pegasus," PLanche's "Old Fairy Tales," À Beckett's "Almanack of the Month," "London Society," and Mr. Thackeray's "Newcomes." Writing of this last, Mr. Hamerton says, "I never regretted the hard necessity which forbids an art critic to shut his eyes to artistic shortcomings more heartily than I do now in speaking of Richard Doyle. Considered as commentaries on human character, his etchings are so full of wit and intelligence, so bright with playful satire and manly relish of life, that I scarcely know how to write sentences with a touch at once light enough and keen enough to describe them";[190] and then the critic goes on to expose the glaring faults which characterize Mr. Doyle's performances from a purely artistic point of view, his feeble attempts of light, his undeveloped "sense of the nature of material," and his absence of imitative study. It is somewhat singular that whilst Mr. Hamerton is silent on the subject of the book etchings of Leech and Phiz, he should have selected for criticism those of Doyle, who never intended to claim for these sketches the dignity of _etchings_. The critic, however, is not only just, but remarkably fair. With reference to the illustrations to the "Newcomes," he acknowledges "their all but inestimable dramatic value." "Illustrations to imaginative literature," he continues, "are too frequently an intrusion and an impertinence, but these really added to our enjoyment of a great literary masterpiece, and Doyle's conception of the Colonel, of Honeyman, of Lady Kew, is accepted at once as authentic portraiture. In Ethel he was less happy, which was a misfortune, as she was the heroine of the book; but many of the minor characters were successes of the most striking and indisputable kind." Further on, he says of Doyle's etching, _A Student of the Old Masters_,--"Colonel Newcome is sitting in the National Gallery, trying to see the merits of the old masters. Observe the enormous exaggeration of aërial perspective resorted to in order to detach the figure of the Colonel. The people behind him must be several miles away; the floor of the room, if judged by aërial perspective only, is as broad as the Lake of Lucerne." The criticism, though exaggerated, is not unfair or unjust; but the people are certainly not miles away. Doyle has perpetuated a mistake common with many English artists, who seem to think, as Hazlitt expresses it, that, "if they only leave out the subordinate parts, they are sure of the general result."[191] Doyle's intention to give us a portrait of Colonel Newcome _only_ has prompted him to treat the subordinates as almost non-existent. His work, however, was never intended to be faultless; it carries out his own intention most thoroughly and admirably, and in a manner very far superior to anything which Thackeray himself could have done.

The closing scenes in the life of this most amiable and unselfish of artists we give in the singularly graceful words of his Catholic biographer: "In the autumn of last year (1883), Mr. Doyle spent some time in North Devon, and while there painted a picture of Lynton churchyard. The view is taken at a distance of some ten or fifteen yards to the south-west of the church, and is looking in an easterly direction. In front of the picture one sees far down below the blue waters of the Bristol Channel, while behind the picturesque little church nestles among the trees. In the churchyard an old man is mowing down the long grass amid the graves, while two or three little children scatter flowers on one of them. This picture was unfinished at the time of his death. A strange coincidence that he should have chosen such a scene for his last picture, when, as far as man can judge, he had no sort of reason for thinking that death was so near; stranger still, that on his return home he chose for the sketch a black frame, as if to clothe it in the garb of mourning for its maker. There it remains on his easel, unfinished still, as if to tell of one cut off so suddenly, not indeed in the summer of life, but in a mellow autumn, which seemed to give promise of many years of good work still to be done. But the time had come when the little sprites who peopled his dreams of earth, were to be exchanged for the angel forms who were to welcome the faithful servant to his reward in heaven. On the 10th of December, as he was preparing to return from the Athenæum club, Mr. Doyle was struck down by apoplexy. An ambulance was procured, and he was carried home. He never regained the power of speech, and it is doubtful whether he was ever again conscious, though the priest who anointed him for his journey from thence to heaven thought that he detected some traces of a joyful acquiescence in the rite. The next morning, in the home where the last years had been spent in quiet peaceful pursuit of the art he passionately loved, his simple, innocent, loyal soul passed away from earth to heaven."

* * * * *

It will be admitted that Mr. Tenniel joined the ranks of the graphic satirists at the commencement of troublous times. The nations of Europe, with the exception of England, whose slumbers still remained unbroken, were all more or less awake. Prussia, insufficiently avenged (as she herself considered) at Waterloo for the unendurable humiliations which Napoleon had heaped upon her after Jena, had been unostentatiously preparing for another deadly struggle with France, and perfecting the most admirable military machinery of modern times. Russia, under Nicholas, a thorough soldier in theory, had an army so elaborately over-drilled that when the time came it was found practically useless for the purposes of actual warfare. The sleep of England was suddenly awakened by the war with Russia, and afterwards by the revolt of her Indian mercenaries. The Russian was to be followed by a war between France and Austria; the enfranchisement of Italy from the Alps to the Adriatic; the fratricidal struggle between Prussia and Austria, and the rending asunder within six weeks of the famous Germanic Confederation of the Rhine. It is a somewhat singular coincidence that immediately before the commencement of these troubles the great Duke of Wellington died, an event commemorated by two remarkable cartoons of Tenniel, the first of which is entitled _September_ XIV. _MDCCCLII._ (the day of the great soldier's death), and the other, _The Duke's Bequest--for the most Worthy_.

The year 1853 opened the eyes of those of us who fancied that war was a thing of the past, and that the reign of Universal Peace had begun. Not only was Turkey at war with Russia, but had given her a tremendous thrashing at Oltenitza, an event alluded to in the artist's cartoon of _A Bear with a Sore Head_. One of the best of his satires of the same year depicts Aberdeen as he appeared in _The Unpopular Act of the Courier of St. Petersburg_, wherein the premier attempts the risky feat of driving a team of unmanageable horses. The features of the nervous athlete betray much anxiety; the two fiery leaders, Russia and Turkey, prove wholly beyond his control; while Austria, unsettled by their bad example, is much disposed to be troublesome.

Matters went from bad to worse in 1854. England was not only thoroughly aroused but angry, not only with her enemies, but with the foolish people who had preached peace to her when there was no peace; and, in _What it has Come to_, we find my Lord Aberdeen vainly trying to hold in the British lion, whose ire has been roused by the Russian bear, who is seen scampering off in the distance. Away goes the lion, with his tail as stiff as a poker and every hair of his mane erect, dragging after him the frightened premier, who exclaims, in the extremity of his terror, that he can hold him no longer and is bound "to let him go." The Russian war showed our singular unreadiness for warfare. Just at its close we had provided ourselves with a fleet of vessels of light draught capable of floating in the shallows which surrounded the Russian fortifications, which, had they been ready at the time they were wanted, might have proved of incalculable service. Britannia disconsolately eyes these gun-boats from the summit of her cliffs. "Ah!" she sighs, "if you'd been only hatched a year ago, what might have come out of your shells!"

Close upon the heels of the Russian war followed the mutiny of our Indian levies. So closely did one event follow the other, that those who have watched and learnt with reason to distrust the odious and insidious policy of Russia towards this country, considered the coincidence a more than singular one. The Franco-Austrian war came next; and the war wave passed onwards to America, where the Northern and Southern states were speedily engaged in fratricidal and deadly strife. Peace, driven from land to land, found no resting place for the sole of her foot, and the artist shows her to us, seated disconsolately pondering over these untoward matters and her own unhappy condition on the breech of a garrison gun.

_Punch's_ low estimate of the character and abilities of the Emperor Louis is patent throughout those of Tenniel's satires in which he puts in an appearance. In 1853 he takes us to an _International Poultry Show_ (in obvious reference to the Boulogne catastrophe) where, amid a variety of eagles--the American eagle, the Prussian eagle--the double-headed Austrian and Russian eagles--we find a wretched nondescript, half eagle half barn-door fowl, labelled the "French eagle." Victoria (a royal visitor) remarks to her astonished companion, "We have nothing of _that_ sort, Mr. Punch; but should there be a _lion_ show, we can send a specimen!!" The approaching marriage of the French Emperor is alluded to in the cartoon of _The Eagle in Love_, in which the present ex-Empress (then Comtesse de Teba), whose likeness by the way is far from happy, is represented as cutting his talons. The air of mystery which was a part of his character, and was not so well understood in those days as it afterwards came to be, not unnaturally misled Mr. Tenniel, for in his satire, _Playing with Edged Tools_, we behold him studying (of all things in the world) a model of the guillotine, an instrument of terror to which those of the Bonaparte family who profess to be guided by the policy of the great Napoleon, must always entertain the greatest possible aversion.

_Punch_ not only looked upon the third Napoleon as a treacherous man, but also as a dangerous and inconvenient neighbour. In the cartoon labelled, _An Unpleasant Neighbour_ (1859), we see him in the act of placing outside his firework shop a flaming advertisement, whereon we read in the largest possible type, "Blaze of Triumph! Roman Candles!--Italian Fire!"[192] His neighbour, John Bull, proprietor of "The Roast Beef House" next door, rushes out in a very excited state, "Here have I got," says he, "to pay double insurance, all along of _your_ confounded fireworks!" The next cartoon shows us Louis, _alias_ "Monsieur Walker," after he has closed his establishment and chalked up, "The Business to be disposed of," while incredulous John places his finger to his nose as Louis assures him, "Ah, friend Johnny! I close my shop entirely to please _you_!" In _The Congress Quadrille_, Louis vainly essays to make himself agreeable to Miss Britannia (a good example of the artist's handsome women)--"Voulez-vous danser, Mad'moiselle?" says Louis. Britannia, however, having been his partner on more than one memorable occasion, had had quite enough of him and his peculiar style of dancing. "Thanks,--no!" she languidly replies, thinking doubtless of her experiences of the Russian quadrille--of the Chinese country dance, etc., etc. "I'm not sure of the figure--and _know nothing of the Finale_."

Mr. Tenniel's art training before he joined the _Punch_ staff, combined with his undoubted genius, renders him unquestionably one of the most versatile of modern designers. His satire is something quite apart from his caricature, and the former is characterized by a strong dramatic element particularly noticeable in serious illustrations, such as his designs to "The Pythagorean," in the second volume of "Once a Week." In caricature he resumes in a measure the manner of the older caricaturists, without retaining a trace of their vulgarity, and a good example will be found in his cartoon of _What Nicholas heard in the Shell_ (1854), in which the features and salient points of the figure are intensely overdrawn. His caricature pure and simple seems to us always inferior to his satirical power; as fine examples of the latter we may mention: _The British Lion Smells a Rat_ (an angry lion sniffing at a door, in allusion to the conference which followed the fall of Sebastopol); _The British Lion's Vengeance on the Bengal Tiger_, which chronicles the ghastly massacre of Cawnpore; _Bright the Peace Maker_ (1860), in which _Punch_ testifies his indignation at the manner in which Mr. Bright endeavoured to create a popular feeling against the House of Lords; _Poland's Chain Shot_ (1863), a stirring and powerful composition, wherein Poland, gallantly struggling once more for freedom, breaks her chains and fiercely rams them into a cannon; _Humble Pie at the Foreign Office_ (1863), and _Teucer Assailed by Hector is Protected by the Shield of Ajax_ (1864), in which Lord John Russell is the subject of satire; and _The False Start_ and _Out of the Race_ (the same year), in the first of which Palmerston endeavours to restrain the leaning of Gladstone towards democracy, the last showing the result of his inattention to the starter's warning. In all these and a host of other admirable satires, the superior art training of Mr. Tenniel is seconded by his strong dramatic power, and above all by his unquestionable _genius_. It would be a poor compliment to him to deny that he had his failings--which indeed of the admirable satirists who preceded him had not? His failings, when they do occur, are perhaps more noticeable on account of his style and the mode in which he frequently drapes his figures. We have heard it objected to him, for instance, that the beauty of his female figures is occasionally marred by the somewhat disproportionate size of their feet, and this charge seems to us sustainable. Mr. Tenniel displays rare excellence in the drawing of animals--an excellence peculiarly noteworthy in such cartoons as _The British Lion Smells a Rat_, and _The British Lion's Vengeance on the Bengal Tiger_.

Embracing a period of only fourteen years, from 1851 to 1864, during which time he worked side by side with his friend and colleague, John Leech, on the pages of _Punch_, our notice of the cartoons of John Tenniel must necessarily be short. During the last three years of his life, when, as we have seen, the strength of the artist who had been on the pictorial staff from the commencement had been gradually failing, the execution of the weekly cartoons had fallen almost entirely upon Mr. Tenniel. As fellow-labourers, constantly associated on the same periodical, we are enabled to compare their individual merits. The conclusion we have arrived at is as follows: That as a political _satirist_, Tenniel is the best of the two; while as a delineator of English habits, manners, eccentricities, and peculiarities, Leech finds no equal. After 1864, when the artistic friendship and partnership (so to speak) of these gifted men was dissolved by the untimely death of John Leech, it would be beyond the declared scope and purpose of this work to follow Mr. Tenniel further. Unlike the caricaturists who preceded him, many of whom relied on humour, more or less forced, for the success of their productions, the cartoons of John Tenniel are oftentimes distinguished by a gravity and sternness of purpose which, combined with their artistic excellence, appeals forcibly to the imagination. Unfortunately, as in the case of those of John Leech, these truly admirable examples of nineteenth century satire, apart from the _Punch_ volumes themselves--owing to the material on which they are impressed and the process to which the original drawings are subjected--are practically valueless by the side of an indifferent caricature torn from the scurrilous and worthless pages of "The Scourge" or "The Meteor."

To the persons who charge this artist with want of humour, his cartoon of _Britannia Discovering the Source of the Nile_--probably the most comical picture in the whole of the _Punch_ volumes--will afford the most conclusive answer, as will also the quaint and mirth-provoking little pictures which he designed for "Alice in Wonderland," its sequel, "Through the Looking-glass," and the 1864 edition of the "Ingoldsby Legends." One of these last, by the way, so closely resembles a scarce design of John Leech's in the "New Monthly," that the coincidence will strike any one who has an opportunity of comparing the two together. During the fourteen years that Mr. Tenniel was a fellow-worker with the late John Leech, he contributed to the pages of _Punch_ about 1,400 designs, of which upwards of 400 are cartoons. We believe we are correct in stating that all these illustrations, and his subsequent and contemporary designs, were drawn at once upon the wood block, not a single preliminary sketch having been made.

* * * * *

Here, in accordance with the plan which we designed when we sat down to write this work, we bring our labours to a close. If we have omitted all mention of two very excellent and talented artists, Messrs. Charles Keene and George Du Maurier, it is not from any lack of appreciation, but because one of them at least began his labours just about the period when those of John Leech were drawing to a close, while the reputation of both were made _after_ their distinguished contemporary was laid to his rest. The merits of both these able men and of those now following after them must be left to be dealt with by another chronicler. Although, as we remarked in our opening chapter, the wood engraver has rung the knell of English caricature, with such clever men as Colonel Seccombe, Mr. Proctor, Mr. Randolph Caldicott, Mr. F. Barnard, the present George Cruikshank, Mr. Chasemore, and others whose names do not at present occur to us, there is happily no prospect of a decline in the art of English graphic satire.

FOOTNOTES:

[186] The present chapter was written before the artist's death; but I have to acknowledge the great assistance I have derived in its _revision_ from the authority indicated.

[187] _The Month, a Catholic Magazine_, No. 237 (March, 1884), p 315.

[188] _Ibid._, page 317.

[189] One of these (and a very effective one) was the work of the present Sir John Gilbert.

[190] Hamerton's "Etching and Etchers."

[191] William Hazlitt on "The Fine Arts," p. 51.

[192] An excellent burlesque of the Emperor's theatrical declarations.

APPENDICES.

APPENDIX I.

_SOME ILLUSTRATIVE WORK OF ISAAC ROBERT CRUIKSHANK._

Coloured frontispiece to the "Age of Intellect; or, Clerical Show Folk and Wonderful Lay Folk," by Francis Moore, Physician. 1819.

"Lessons of Thrift, published for the general benefit, by a Member of the Save-all Club," eleven coloured full-page etchings. 1820.

"The Total Eclipse, a Grand Politico-Astronomical Phenomenon." (Dolby, Strand.) 1820.

"A Peep at the P. C. N.; or, Boiled Mutton with Caper Sauce at the Temple of Joss." (Effingham Wilson.) 1820.

"The Men in the Moon; or, the Devil to Pay." (Dean & Munday.) 1820.

[_With his brother George._] Designs to Nightingale's "Memoirs of Queen Caroline." (J. Robins.) 1820.

"Radical Chiefs." One caricature illustration. 1821.

"The Royal Game of Chess." 1821.

"The Political All-my-knack for the Year of our Lord 1821."

"The Queen and Magna Charta; or, the Thing that John Signed." (Dolby, Strand.) 1821.

"Tales of the Cordelier Metamorphosed." 1821.

[_With his brother George._] "Life in London." (Sherwood, Nealy & Jones.) 1821.

"The Commercial Tourist; or, Gentleman Traveller." (A satirical Poem), five coloured plates. 1822.

"Mock Heroicks; or, Snuff, Tobacco, and Gin, and a Rapsody on an Inkstand." Four caricature engravings. 1822.

"Annals of Sporting and Fancy Gazette." (Numerous coloured plates.) 1822-1825.

[_With C. Williams._] Frontispiece to George Ramsey's "New Dictionary of Anecdote." 1822.

"My Cousin in the Army; or, Johnny Newcome on the Peace Establishment." Many coloured plates. 1822.

Twenty designs on wood for Charles Westmacott's "Points of Misery." 1823.

A series of drawings on wood to the "Spirit of the Public Journals for 1823 and 1824." (A selection of essays, jeux d'esprit, tales of humour, etc., 2 vols.)

"Life and Exploits of Don Quixote." Twenty-four designs on wood. (Knight & Lacey.) 1824.

Bernard Blackmantle's (Charles Westmacott) "English Spy." 1825.

"Spirit of the Public Journals for 1825."

Charles Westmacott's "Punster's Pocket-book; or, the Art of Punning Enlarged." 1826.

[_With his brother George._] "London Characters." (Twenty-four plates, of which nine only are by Robert.) Robins. 1827.

[_With George._] Designs on wood for the "Fairy Tales" of Albert Ludwigg Grimm. 1827.

J. Thompson's "New Life of J. Allen." 1828.

Smeeton's "Doings in London." 1828.

"British Dance of Death" (allegorical coloured frontispiece). 1828.

"Spirit of the Age" Newspaper (vignette). 1828.

[_With his brother._] The designs on wood for the "Universal Songster; or, Museum of Mirth." (3 vols.) 1828.

"London Oddities; or, Theatrical Cabinet, and Tit-bits of Humour and Eccentricity." 1828.

"The Finish to the Adventures of Tom, Jerry, and Logic." 1828.

_The following between 1830 and 1832._

"Cruikshank's Comic Album" (sometimes called "Facetiæ"), being a series of little books published by Kidd, Miller, and others, afterwards collected into 3 vols.

"Walks about Town by an Antiquated Trio," three designs.

"The Condition of the West Indian Slave contrasted with that of the Infant Slave in our English Factories."

"Cruikshank and the New Police, showing the great Utility of that Military Body."

"Cruikshank _versus_ Witchcraft"; "Mary Ogilvie"; "Wee Watty."

"Robert Cruikshank _versus_ Sir Andrew Agnew."

W. S. Moncrieff's "March of Intellect," six designs.

[_With Kenny Meadows._] "The Devil in London."

"A Slap at the Times."

Illustrations to Foote's "Tailors," and "Mayor of Garratt"; O'Hara's "Midas"; "The Beggars' Opera"; "Katherine and Petruchio," and others.

_The following between 1831 and 1836._

Design on wood for "Figaro in London."

[_With Seymour and others._] Illustrations to a periodical called "The Thief."

Twenty illustrations to W. R. Macdonald's "Comic Alphabet." (A rival to George Cruikshank's work of the same title.)

Eighty-five designs on wood to Crithannah's "Original Fables." Six designs on wood for "Readings from Dean Swift His Tale of a Tub, with Variorum Notes, and a Supplement for the use of the Nineteenth Century," by Quintus Flestrin Grildrig.

Johann Abricht's "Divine Emblems." And [_with his brother_] illustrations to J. Thomas's "Burlesque Drama." 1838.

[_With Seymour._] The series known as "Cruikshank at Home," and "The Odd Volume."

_The following in 1839-1840._

Ten vignettes to "The Lady and the Saints." Twelve designs on wood to "Colburn's Kalendar of Amusements in Town and Country." "Cozi Toobad." [_With W. Lee._] Twenty-three steel plates and designs on wood for "Jem Blunt," by Barker (author of the celebrated "Greenwich Hospital").

_1842 and 1844._

[_With John Leech._] "Merrie England in the Olden Time," by George Daniel. (Since rep. by Warne & Co.) Three illustrations to "James Hatfield and the Beauty of Buttermere." [_With R. W. Buss and T. Wageman._] "Cumberland's British and Minor Theatre." Fourteen etchings to Abraham Elder's "Tales and Legends of the Isle of Wight." Nine aqua-tinta plates to Hugo Playfair's "Brother Jonathan, the Smartest Nation in all Creation."

_From 1845 to 1849._

"Sketches of Pumps Handled by Robert Cruikshank." Twenty-four etchings to "The Orphan; or, Memoirs of Matilda" (a translation of Sue's "Mathilde"). Forty etchings to "The Bertaudiere" (Chronicles of the Bastile).

_And the following_.

Francis L. Clarke's "Life of Wellington." Kentish's "Hudibrastic History of Lord Amherst's Visit to China." "The London Directory and London Ambulator." "Golden Key of the Treasures of Knowledge." "The Little World of Great and Good Things." E. Thomson's "Adventures of a Carpet." "Raphael's Witch; or, Oracle of the Future" (ten coloured designs). "The London Stage" (a collection of about 180 plays, with a cut to each play; 4 vols.). Portrait of Mr. Oxberry as "Humphrey Gull" in the "Dwarf of Naples," etc., etc.

APPENDIX II.

_SOME MISCELLANEOUS WORK OF ROBERT SEYMOUR EXECUTED BETWEEN 1822 AND 1836._

"Views from the Poets." "The Devil on Two Sticks." "Ovid." "Demosthenes." Views of Newstead Abbey, Margate, Dover, etc. Designs for "Benevolence, Friendship, and Death." "Quarrels of the Poets." "Anatomical Theatre." "Vanities of the Human Race." "The Happy Family." "The Gin-shop." "The Sleepwalker." "The Sluggard." "Don Juan." "The Economist." "The Chemist." "The March of Intellect." "The Great Joss and his Playthings." "The R----l Speech." The Works of Wordsworth, Southey, Gay, and other poets. Robinson's "History and Antiquities of Enfield." Shakspeare's "Seven Ages." Hogarth's "Apprentices," and "Rake's Progress." "Uncle Timothy." Views of London. Sporting Almanacks. "Percy Anecdotes." "Book of Martyrs." "Portraits of Public Characters." "Death in London." "Spectre Bride." "Midnight Embrace." "The Red King." "The Ghost with ye Golden Casket." "The Devil's Ladder." "Assisting, Resisting, and Desisting."

Contributions to "Friendship's Offering." 1824-36.

"Seymour's Comic Annual: a Perennial of Fun."

Miss Louisa Sheridan's "Comic Offering." 1831-1835.

"The National Omnibus," a journal of literature, etc. (designs on wood, with Cruikshank), 1831-1832; "The Comic Magazine," 1832-1834; Richardson's "Minor Drama," 1827-1830; Piers Shafton Granton's "Vagaries in Quest of the Wild and Wonderful"; "Mrs. Greece and her Rough Lovers" [Russia and Turkey] (McLean), 1828; "How to Spell Harrowgate" (C. King), 1828; "Going by Steam" (G. King); "The Political Bellman"; "A Musical Genius" (G. Creed); "A Man of Taste and Feeling" (G. Creed).

_The following, among others, for McLean, in 1829._

"Search after Happiness" (two plates); Portrait of O'Connell; "Buonaparte in his Study"; "State of the Nation"; "Treasure Seeking"; "The Raft"; "O'Connell's Dream"; "London"; "Plot Discovered"; "Death of the Giraffe" (a series of plates); "Rival Actresses"; "Moments of Reflection"; "Ennui"; "The Ear-wig"; "The Lost Key"; "The Man Wot Steers"; "Raising the Wind"; "Catholic State Wagon."

"The Looking Glass" (a series of political and other caricatures, in which he was assisted by William Heath). 1830-1836.

"Sycophant Saints and Sabbath Sinners." Circa 1832.

[_With Isaac Robert Cruikshank._] "Cruikshank at Home," and "The Odd Volume." 1836.

"The Omnibus" (a series of humorous etchings on copper); and "The Heiress" (six plates, each consisting of about five subjects).

Upwards of three hundred designs on wood for "Figaro in London." 1831-1836.

"Valpurgis; or, the Devil's Festival." Four woodcuts. (Kidd.) 1831.

"The Extraordinary Black Book" (an exposition of the incomes of the aristocracy, Church, civil list, list of sinecurists, etc.), one caricature plate. 1831.

"The Comic Magazine." 1831-1834.

"Maxims and Hints for an Angler" (twelve beautifully-finished drawings on stone).

"The Schoolmaster Abroad" (aimed at Lord Brougham's educational movement).

"New Readings by Old Authors" (a small lithographic series comprising upwards of three hundred plates, the subjects being suggested by readings in Shakespeare, Schiller's "William Tell," and Byron's "Giaour.")

Several hundred illustrations for Maddeley, the publisher.

The "Humorous Sketches"; "Hood's Comic Almanack," 1836 (thirteen woodcuts); "Squib Annual of Poetry, Politics, and Personalities" (twelve designs); [_with Cruikshank_] "Sayings worth Hearing, and Secrets worth Knowing"; "Terrific Penny Magazine"; T. K. Hervey's "Book of Christmas," 1836; the early plates to "Pickwick"; some of the plates to the "Pocket Magazine" (Robins' series), eleven vols., etc., etc.

APPENDIX III.

_SOME OF THE ILLUSTRATED WORK OF JOHN LEECH._

1835. "Etchings and Sketchings," by A. Pen, Esq.

1837. "Jack Brag," by Theodore Hook.

1840. "The Comic Latin Grammar," by Paul Prendergast. (Percival Leigh.) Plates and cuts.

"The Comic English Grammar," by Gilbert à Beckett. Fifty illustrations.

"The Fiddle-Faddle Fashion Book," by Percival Leigh. Four coloured plates.

[_With Hablot Knight Browne and another._] "The London Magazine, Charivari, and Courrier des Dames."

"Bentley's Miscellany," 1840 to 1849, containing etchings to the "Ingoldsby Legends," "Stanley Thorn," "Richard Savage," "Adventures of Mr. Ledbury," "Fortunes of the Scattergood Family," "Marchioness of Brinvilliers," "Brian O'Linn," etc., etc.

1841. "The Children of the Mobility," seven lithographs in a wrapper.

"Written Caricatures," by C. C. Pepper (pseud.).

"Punch, or The London Charivari." 1841 to 1864.

[_With Isaac Robert Cruikshank._] "Merrie England in the Olden Time," by George Daniel. 1842.

"New Monthly Magazine," 1842 to 1844.

"Hood's Comic Annual."

1843. "The Wassail Bowl," by Albert Richard Smith, etchings and woodcuts.

"Jack the Giant-Killer."

"The Illuminated Magazine," 1843 to 1845.

1844. "The Comic Arithmetic," designs on wood.

"Punch's Snap-Dragon for Children," four etchings.

"A Christmas Carol," by Charles Dickens, four coloured plates and cuts. 1843-4.

"Jessie Phillips," by Mrs. Trollope, eleven plates.

[_With George Cruikshank._] "Colin Clink," by Charles Hooton.

1845. [_With Doyle and others._] "The Chimes," by Charles Dickens.

"Hints in Life; or, How to Rise in Society," frontispiece.

"Young Master Troublesome; or, Master Jacky's Holidays."

"Douglas Jerrold's Shilling Magazine," 1845 to 1848. Etchings to "St. Giles and St. James."

1846. "The Quizziology of the British Drama," by Gilbert à Beckett, frontispiece.

"The Comic Annual" (a re-publication of "Hood's Whimsicalities"), forty-five illustrations.

[_With Doyle and others._] "The Battle of Life," by Charles Dickens.

1847. "The Comic History of England," by Gilbert à Beckett, coloured etchings and numerous designs on wood.

1848. "The Life and Adventures of Oliver Goldsmith," by John Forster [_with another_].

"The Rising Generation," twelve large, tinted lithographs, issued from the _Punch_ office.

"The Struggles and Adventures of Christopher Tadpole," by Albert Smith, etchings.

[_With John Tenniel and others._] "The Haunted Man and the Ghost's Bargain," by Charles Dickens. 1847-8.

[_With Richard Doyle and Alfred Crowquill._] "Bon Gaultier's Book of Ballads," by Theodore Martin and Professor Aytoun. 1849.

"A Man made of Money," by Douglas Jerrold, twelve etchings.

"Natural History of Evening Parties," by Albert Smith.

1851. "The Month," edited by Albert Smith.

1852. "Dashes of American Humour," by Howard Paul.

"The Comic History of Rome," by Gilbert à Beckett, ten coloured etchings and numerous designs on wood.

1853. "The Fortunes of Hector O'Halloran and his man Mark Antony Toole," by W. H. Maxwell, etchings.

"Mr. Sponge's Sporting Tour," by R. W. Surtees, twelve coloured etchings and numerous designs on wood.

1854. "The Great Highway," by S. W. Fullom.

"Handley Cross; or, Mr. Jorrock's Jaunts," by R. W. Surtees, coloured etchings and numerous designs on wood.

1856. "The Paragreens."

1857. "Merry Pictures," by the Comic Hands of Phiz, Leech, Kenny Meadows, Gavarni, and others.

"The Militia Man at Home and Abroad," by Emeritus.

"A Month in the Forests of France," by the Hon. Grantley F. Berkeley.

1858. "Encyclopædia of Rural Sports."

"Ask Mamma; or, the Richest Commoner in England," by R. W. Surtees, coloured etchings and numerous designs on wood.

1859. "The Fliers of the Hunt," by John Mills.

"A Little Tour in Ireland," by the Rev. S. Reynolds Hole, coloured folding frontispiece and designs on wood.

"Newton Dogvane: a Story of English Life," by J. Francis.

"Soapey Sponge" (sporting).

"Paul Prendergast."

"Once a Week," 1859 to 1864.

1860. "Mr. Briggs and His Doings" (fishing), twelve coloured plates.

"Plain or Ringlets," by R. W. Surtees, coloured etchings and numerous designs on wood.

[_With George Cruikshank, "Phiz," and John Tenniel._] "Puck on Pegasus." 1861.

"Mill's Life of a Fox-Hound."

[_With George Cruikshank and John Tenniel._] "The Ingoldsby Legends." 1864.

"The Follies of the Year," twenty-one coloured etchings from _Punch's_ "Pocket Books," with descriptive letterpress by Shirley Brooks.

"Mr. Facey Romford's Hounds," by R. W. Surtees, coloured etchings and designs on wood (finished by "Phiz").

[_With Doyle and others._] "The Cricket on the Hearth." By Charles Dickens. 1845-6.

_Reprint._

"Fly Leaves," lithographs.

"Sketches of Life and Character taken at the Police Court, Bow Street," by George Hodder.

APPENDIX IV.

_SOME MISCELLANEOUS WORK OF ALFRED HENRY FORRESTER (ALFRED CROWQUILL)_.

"Ups and Downs," 1823; "Paternal Pride," 1825; "Despondency and Jealousy" (with George Cruikshank), and many others, in 1825; "Der Freyschutz Travestied," "Alfred Crowquill's Sketch-Book," "Absurdities in Prose and Verse," 1827; Goethe's "Faust," 1834; six plates of "Pickwickian Sketches," Alfred Bunn's "Vauxhall Papers," 1841; designs on wood for "Sea Pie," an _omnium gatherum_ containing also plates after David Cox, Pyne, Stanfield, and Vickers, 1842; "Punch" (vols. ii. to iv.); plates and numerous designs on wood for "Bentley's Miscellany," many original designs to "Doctor Syntax's Tour in Search of the Picturesque," 1844; "Comic Arithmetic" (forty-seven humorous vignettes), 1844; "Woman's Love," 1846; "Wanderings of a Pen and Pencil," 1846; "A Good-natured Hint about California," 1849; "The Excitement" (2 plates), 1849; 120 designs on wood for the "Pictorial Grammar;" designs on wood for the "Pictorial Arithmetic;" "Gold," 1850; "A Bundle of Crowquills Dropped by Alfred Crowquill," 1854; "Fun," 1854; "Griffel Swillendrunken," 1856; "Aunt Mavor's Nursery Tales," 1856; "Little Pilgrim," 1856; "Little Plays for Little Actors," 1856; "Fairy Tales," 1857; "Merry Pictures by the Comic Hands of 'Phiz,'" etc. (Kent & Co.), 1857; "The Book of Ballads," by Bon Gaultier (with Doyle and Leech), 1857; "A New Story Book," 1858; "Fairy Tales," by Cuthbert Bede, 1858; "Baron Munchausen" (coloured plates), 1858; "Tyll Owlglass" (a similar book), 1859; "Honesty and Cunning," 1859; "Kindness and Cruelty," 1859; "The Red Cap," 1859; "Paul Prendergast," 1859; "Strange Surprising Adventures of the Venerable Gooros Simple," 1861; "Fairy Footsteps," 1861; Chambers' "Book of Days;" G. W. Reynolds' "Pickwick Abroad" (now scarce); "The Boys and the Giant," 1870; "The Cunning Fox," 1870; "Dick Doolittle," 1870; "Little Tiny's Picture Book," 1871; "Guide to the Watering Places" (views and comic plates); "Comic Eton Grammar" (with Leech); "Fairy Footsteps; or, Lessons from Legends" (100 designs on wood, with Kenny Meadows); Henry Cockton's "Sisters; or, England and France."

APPENDIX V.

_SOME WORKS ILLUSTRATED BY HABLOT KNIGHT BROWNE._

Charles Dickens's "Sunday under Three Heads," 1836.

"Posthumous Papers of the Pickwick Club," forty-three plates by Seymour and "Phiz." 1836-37.

_The following are also to be met with._

"Posthumous Papers of the Pickwick Club," with the Seymour and "Phiz" plates, the two suppressed plates of "Buss," and the extra series of thirty plates by Onwhyn. 1837.

_The same_, with the forty plates by Seymour and "Phiz," the two suppressed plates of Buss, and twenty-three plates by "Sam Weller" and Onwhyn.

"Sketches of Young Ladies by 'Quiz'" (Charles Dickens), six copper plates, 1837.

James Grant's "Sketches in London," twenty-four humorous illustrations on steel by "Phiz" and others, Orr, 1838. Another edition in 1840.

"A Paper of Tobacco: a Treatise on Smoking, with Anecdotes, Mems on Pipes, Tobacco-boxes, and Snuff." By Joseph Fume, Copper plates and picture boards. 1839.

"Life and Adventures of Nicholas Nickleby." 1839.

_The same_, with the plates by "Phiz," and an extra series of plates by Onwhyn and "Peter Palette." 1839.

_The same_, with the forty plates by "Phiz," and a set of forty plates by "Peter Palette" added.

"New Sporting Magazine." 1839.

Charles Lever's "Harry Lorrequer." 1839. (A pirated edition was published at Philadelphia, 1840.)

"London Magazine, Charivari, and Courrier des Dames" (with Leech and "Gillray, Junr."). 1840.

"Master Humphrey's Clock," "Old Curiosity Shop," and "Barnaby Rudge," designs on wood, with Cattermole. 3 vols. 1840-41.

"Sir Thomas Dick Lauder's Legendary Tales of the Highlands." 3 vols. 1841.

Charles Lever's "Charles O'Malley, the Irish Dragoon," 2 vols. Dublin, 1841.

"Peter Priggins, the College Scout," 3 vols. 1841 (made its first appearance without illustrations in the _New Monthly Magazine_).

"The Pic-nic Papers," by Various Hands, edited by Charles Dickens, plates by Cruikshank, "Phiz," and Hamerton. 3 vols. 1841.

W. H. Maxwell's "Rambling Recollections of a Soldier of Fortune," woodcuts by "Phiz" and others. Dublin, 1842.

Lever's "Jack Hinton." Dublin, 1842-43.

Carleton's "Traits and Stories of the Irish Peasantry" (both series), steel plates by "Phiz," Sir J. Gilbert, Franklin, etc., and woodcuts. 2 vols. Dublin, 1843-44.

Charles Dickens's "Martin Chuzzlewit," forty plates. 1844.

Charles Lever's "Tom Burke of Ours." Dublin, 1844.

"Ainsworth's Magazine," from and after 1844.

"The Illuminated Magazine" [_with Meadows, Sargent, Gilbert, Harvey, etc._]. 1845.

Charles Lever's "St. Patrick's Eve," woodcuts and fine steel etchings. 1845.

"Tales of the Trains; some Chapters of Railroad Romance," by Tilbury Tramp (_i.e._ Charles Lever). Orr, 1845.

"Nuts and Nutcrackers." 1845.

Charles Lever's "The O'Donoghue." Dublin, 1845.

"Fiddle-Faddle's Sentimental Tour in Search of the Amusing, Picturesque, and Agreeable." 1845.

"The Union Magazine," vol. i. Three plates. 1846.

"Fanny the Little Milliner; or, the Rich and the Poor" [_with Onwhyn_]. 1846.

"The Commissioner; or, De Lunatico Inquirendo," twenty-eight steel plates. Dublin, 1846.

"A Medical, Moral, and Christian Dissertion of Teetotalism," by Democritus. 1846.

Charles Lever's "Knight of Gwynne." 1847.

"The Fortunes of Colonel Torlogh O'Brien: a Tale of the Wars of King James." Dublin, 1847.

"John Smith's Irish Diamonds; or, a Theory of Irish Wit and Blunders." 1847.

W. Harrison Ainsworth's "Old St. Paul's," two plates. 1847.

Charles Dickens's "Dombey and Son." 1846-48.

Twelve full-length portraits illustrating "Dombey and Son," designed and etched by "Phiz." (Sometimes bound up with the book.) 1848.

Albert Smith's "The Pottleton Legacy." 1849. (Another edition in 1854.)

Charles Dickens's "David Copperfield," forty plates. 1849-50.

Charles Lever's "Roland Cashel." 1849-50.

John Smith's "Sketches of Cantabs," two plates. 1850.

Defoe's "Robinson Crusoe," full-page cuts. 1850.

"The Illustrated Byron," two hundred woodcuts after Kenny Meadows, Birket Foster, Phiz, and Janet. _Circa_ 1850.

"Ghost Stories and Tales of Mystery," etchings. Dublin, 1851.

"The Daltons." (Charles Lever.) 1850-52.

Francis Edward Smedley's "Lewis Arundel." 1852.

Charles Dickens's "Bleak House," thirty-nine plates. 1852-53.

Horace Mayhew's "Letters Left at the Pastrycook's: being the Correspondence of Kitty Clover," cuts. 1853.

W. Harrison Ainsworth's "Crichton."

"Christmas Day, and How it was Spent by four Persons in the House of Fograss, Fograss, Mowton, and Snorton, Bankers," by C. Le Ros. Woodcuts. 1854.

Charles Lever's "Dodd Family Abroad." 1854.

Francis E. Smedley's "Harry Coverdale's Courtship." 1854.

Charles Lever's "Martins of Cro' Martin." 1856.

"Home Pictures," seven excellent plates. Darton & Co. 1856.

Charles Dickens's "Little Dorrit." 1855-57.

W. Harrison Ainsworth's "Spendthrift," 1857; "Mervyn Clitheroe," 1857-58.

Charles Lever's "Davenport Dunn." 1859.

Mrs. Stowe's "The Minister's Wooing." 1859.

Charles Dickens's "Tale of Two Cities," sixteen etchings; the last work he executed for that author.

W. Harrison Ainsworth's "Ovingdean Grange; a Tale of the South Downs." 1860.

"Twigs for Nests; or, Notes on Nursery Nurture," illustrations in graphotype by H. K. Browne and others, 1860.

Charles Lever's "One of Them," 1861; "Barrington," 1862-63.

"Tom Moody's Tales." (Mark Lemon.) 1864.

"Mr. Facey Romford's Hounds" (Surtees), [_with John Leech_]. 1864.

Charles Lever's "Luttrell of Arran." 1865.

"Ballads and Songs of Brittany," by Tom Taylor, translated from the "Barsaz-Breiz," illustrations by Tenniel, Millais, H. K. Browne, and others. 1865.

Anthony Trollope's "Can You Forgive Her?" (forty plates by Phiz and Marcus Stone.) 1866.

"Dame Perkins and her Grey Mare," by J. L. Meadows. 1866.

_And the following._

"The Illustrated Musical Annual" [_with Kenny Meadows and Crowquill_].

"The Works of Shakespeare," revised from the original text by Samuel Phelps. 2 vols. Numerous coloured plates.

"Wits and Beaux of Society," by Grace and Philip Wharton (Mrs. K. and J. C. Thomson); plates by Brown and Godwin.

"Memoirs of an Umbrella," by G. G. H. Rodwell, sixty-eight engravings by Landells from designs by Phiz.

"Phiz's Sketches of the Seaside and the Country," twenty-eight large plates, tinted mountings; oblong folio.

Smollett's "Adventures of Roderick Random."

Charles Lever's "Con Creggan."

"H. B.'s Schoolboy Days."

"Illustrations of the Five Senses."

George Halse's "Adventures of Sir Guy de Guy."

G. A. Salas "Baddington Peerage" (in _Illustrated Times_).

The Abbotsford Edition of "The Waverley Novels," etc., etc.

See also the "Memorial Edition" of Dickens's whole works, with several hundred illustrations by George Cruikshank, H. K. Browne, and others, printed on Chinese paper.

_And in the following serials_.

"New Monthly Magazine"; early volumes of "Once a Week"; "Tinsley's Magazine"; "London Society"; "St. James's Magazine"; "Illustrated Gazette"; "Sporting Times"; "Judy"; etc.

INDEX.

"A Bazaar," 145.

À Beckett, Gilbert, 223.

Aberdeen, Lord, 303, 395.

Abinger, Lord, 252.

Aboukir, Battle of, 13.

Achilles, Statue of, 81, 161.

"Achitophel," 159.

"A Constitutional Plum Pudding," 298.

Actors, their position in France, 386.

"A Day at Biarritz," 317.

"Adelaide Mill, The," 213.

Adelphi Theatre, 110.

"A Discussion Forum," 310.

Adulteration of Tea, 152.

"Adventures of Brown, Jones," etc., 391.

"A Fine Old English Gentleman," 251.

"A Great Subject," etc., 249.

"Ah, sure such a Pair," etc., 155.

"A Hint to Duellists," 248.

Ainsworth, Harrison, 194, 198, 199.

Ainsworth's "Auriol," 349. "Crichton," 344.

Albert, Prince, 294.

Alexander, The Emperor, 133, 139.

"Alice in Wonderland," 400.

"All My Eye," 97.

Allied Sovereigns. Visit of the, 133.

Alliteration, Graphic, 177.

Almack's, Lady patronesses of, 213.

Althorp, Lord, 269.

"A Match for the King's Plate," 154.

_America_. Causes of Difference between her and England in 1812, 41. England offers to Revoke Orders in Council, 42. Her anxiety to fix a Quarrel on England, 42, 43. Desire of the Americans to Invade Canada, 42. Invasion of Canada, 43. Defeat and Surrender of the American General Hull, 43. Naval Successes of the Americans, 43. Americans driven out of Canada, 45. English assume the Offensive, 45. Burning of Washington, 46. Alexandria placed under Contribution, 46. Capture of British Naval Force, 48. Retreat of Prevost, 48. Attack on New Orleans, 48.

Amiens, Peace of, 14.

"A Morning Call," 285.

"A Musical Genius," 209.

"Anstey's New Bath Guide," 176.

"A Paper of Tobacco," 340.

"A Patriot Luminary," etc., 151.

"Apollyon, the Devil's Generalissimo," etc., 131.

"A Prospecte of Exeter Hall," 385.

"A Race for the Westminster Stakes," 251.

"Argus, The" (an English Newspaper in the pay of Bonaparte), 15.

"Arrogance or Nonchalance of the Tenth Reported," 100.

"Art of Walking the Streets of London," 152.

Arthur à Bradley, 162.

"Arthur O'Leary," 200.

"A Select Specimen of the Black Style," 262.

"A Sheep in Wolf's Clothing," 374.

"A Shot from Buckingham to Bedford," 97.

"Assisting, Resisting, and Desisting," 218.

"A Student of the Old Masters," 393.

"At a Concert," 220.

"Auld Lang Syne," 247.

Authors and Artists, Quarrels between, 233.

"A Venomous Viper poisoning the R----l Mind," 132.

"A View of the Regent's Bomb," 151.

Ball, Hughes (see "_Hughes Ball_.")

"Bank Restriction Note," 152.

Barossa, Battle of, 21.

Bath, Queen Charlotte at, 57.

Battier, Mr., 100, 163.

Baylen, Battle of, 20.

Beaconsfield, Lord, 283.

"Beau Clerk for a Banking Concern," 106.

"Belle Alliance," etc., 154.

Bellingham, John, 27.

"Bell's Life," Origin of, 115.

Bennett, C. H., 371-375.

Benningsen, General, 22.

"Bentley's Miscellany," 284, 290.

Bergami, Bartolomeo, 71, 150.

Berkeley, Colonel, 101, 102, 118.

Berlin Decree, 18.

Bernard Blackmantle (see "_Westmacott, C. M._").

Betty, Master, 28.

"Bill of Pains and Penalties," 149.

"Birds'-eye Views of Society," 385.

Black-mail, 105.

Blandford, Marquis of, 235.

"Bleak House," 347.

"Blessings of Peace; or, the Curse of the Corn Bill," 136.

Bloated Men of the Last Century, 2.

"Bombardment Extraordinary," 240.

Bonaparte, Napoleon (see "_Napoleon_").

"Boney and his New Wife," etc., 21.

"Boney's Meditations on the Island of St. Helena," 142.

"Boney returning from Russia covered with Glory," 23.

"Boney the Second," 21.

"Boney's threatened Invasion brought to bear," 142.

"Bonnie Willie," 161.

"Book of Christmas," 220.

"Book of Days," 369.

Booth, Lucius Junius, 54.

"Born a Genius, and born a Dwarf," 173.

"Bottle, The," 201.

"Braintrees, The," 171.

Brereton, Colonel, 223 (note).

Bright, John, 398.

Brighton Pavilion, 164.

"Bringing up our Bill," 243.

"Britannia Discovering the Source of the Nile," 399.

"British Cookery; or, out of the Frying-pan," etc., 21.

"British Spread Eagle," 134.

Brooks, Shirley, 201, 321, 328, 373, 374.

Brougham, Lord, 236, 237, 243, 258-266, 297, 384 (and see "_Jemmy Twitcher_").

Browne, H. K., 283, 336-354, 412-416.

"Bubble Burst; or, the Ghost of an old Act of Parliament," 106.

Buckingham, Duke of (see "_Duel_").

Buckingham, Marquis of, 27.

Bunbury, H. W., 3, 84.

"Bunsby," 342.

Burdett, Sir Francis, 249-251, 253, 269.

"Burking Old Mrs. Constitution," 83.

Busby, Dr., 35.

Buss, R. W., 363-366.

"Buz in a Box," etc., 35.

Byron, Lord, 164.

"Caleidoscope; or, Paying for Peeping." 59.

Canada, Invasion of (see "_America_").

_Caricature._ Dr. Johnson's Definition, 1. Francis Grose's Definition, 1. Modern Meaning, 2. Causes of its Decay in England, 2. Period of its Decline, 83. Injurious Effect of Wood-Engraving on, 5. Has little Concern with Justice, 25, 26.

Caricaturist, Peculiarity of his Wares, 90.

Caricaturists and Critics, 9.

Caricaturists, French, 8.

Caroline of Brunswick, 62-81, 95, 132, 134, 149, 155, 156-159.

Caroline, Queen (see "_Caroline of Brunswick_").

Carpenter, Mr., 39.

Castlereagh, Lord, 149.

Catalani, Madame, 102.

Catholic Association, The, 106.

Catholic Emancipation (see "_Catholic Relief_").

Catholic Relief Bill, 83, 106, 248.

Cawnpore Massacre, 398.

Champ de Mars, 140.

Changes in Political Opinion, 251.

Charles I., Discovery of his Remains, 132.

Charlotte, The Princess, 40, 50, 61, 134, 145, 150, 164.

Charlotte, Queen, 56, 153.

Chobham, Camp at, 303.

"Chronicles of Clovernook," 362.

Churchill, Charles, 7.

Cider Cellar, 87.

"City Scavengers Cleansing the London Streets of Impurities," 76.

"Civic Louse in the State Bed," 102.

Clarke, Mrs., 30, 32, 33.

"Clement Lorymer," 205.

Coates (see "_Romeo Coates_").

Cobbett, William, 235 (_note_).

Cobden, Richard, 383.

Cockton, Henry, 361.

"Coke upon Albemarle," 97.

Colburn's "Kalendar of Amusements," 122.

"Collegians at their Exercises," 95.

"Colonel Fitz-Bastard," 103.

"Comic Almanack," 177, 179.

Comic Journalism in 1831, 223.

"Comic Magazine, The," 229.

"Comicalities" ("Bell's Life"), 281.

"Comic History of England," 287.

"Comic History of Rome," 288.

Commercial Distress of 1825-6, 81.

"Commons _versus_ the Crown of Martyrdom," 100.

"Comparative Anatomy," 152.

"Congress Dissolved before the Cake was cut up," 139.

Connyngham, Marchioness of, 118, 134, 164.

"Conspirators; or, Delegates in Council," 148.

"Corinthian Auctioneer," 102.

"Corinthians," Sham, 93.

Corn Laws, 135.

"Corsican Bloodhound beset by the Bears," 22.

"Corsican's Last Trip," 142.

"Court at Brighton, _à la Chinese_," 164.

"Craven's Head" (Drury Lane), 86.

Cremorne, Aristocratic fête at, 311.

"Cribbage, Shuffling, Whist," etc., 161.

Crimean War, 304, 398.

"Crithannah's Original Fables," 122.

Critics and Caricaturists, 9.

Croker, John Wilson, 245 (_note_).

Crowquill, Alfred (see "_Forrester_.")

Cruikshank, George, 107, 125-207, 281 (_note_), 281, and _note_. Mistakes of those who have written on him, 4. Curious Criticism on, 125. Why his Caricatures possess so much interest, 127. Quarrel with Dickens, 192. " " Bentley, 194. " " Ainsworth, 198. Final Leap in the Dark, 201. Declines to draw for _Punch_, 201.

Cruikshank, Robert, 3, 89-124, 226, 401-404.

Cruikshank, The Brothers, 89.

Cruikshankian Feet, 170. " Steed, The, 169. " Trees, 170. " Women, 168.

"Cruikshankiana," 107.

"Cruikshank's Comic Album," 121.

"Cruikshank's Fairy Library," 205.

"Cruising on Land," etc., 95.

Cumberland, Duke of 100, 241, 242.

Curtis, Sir William, 141, 159.

"Cut at the City Cauliflower," 102.

"Dame Partington and the Ocean of Reform," 243.

"Dandies at Tea," 92.

"Dandies Diving," 93.

"Dandies having a Treat," 93.

"Dandies in France," 154.

"Dandies on their Hobbies," 94.

"Dandies, Parisian," 91.

"Dandy Cock in Stays," 93.

"Dandy dressing at Home," etc., 94.

"Dandy Henpecked, The," 93.

"Dandy put to his Last Chemisette," etc., 93.

"Dandy Shoemaker in a Fright," 93.

"Dandy Sick," 94.

"Dandy Tailor planning a new Hungry Dress," 154.

"Dandyess, A," 94.

D'Angoulème, Duc, 162.

Darwin (see "_Origin of Species_").

"Deaf Postillion," 169.

"Death of the Property Tax," 164.

"Death of Sikes," 185.

Déesses de la Revolution, 25.

"Defenders of the Faith," 106.

"Delivering a Prophetess," 40.

Depression in Trade in 1819, 60.

"Descent of the Great Bear," 82.

Devils, 182.

Dickens, Charles, 191, 206, 230, 232, 282, 347-349.

Dighton, Robert, 27, 84.

"Diogenes," 371.

Dissenting Ministers, Proposal to amend their qualifications, 130.

"Doctors Differ," 36.

"Dog and the Shadow," 251.

"Doings in London," 120.

"Dombey and Son," 345.

Dominie Sampson, 176.

Doré, Gustave, 7, 9.

Double Bass, 132.

Doyle, John (see "HB").

Doyle, Richard, 379, 381-394.

Draconian Laws, 152.

"Drilling one-tenth," etc., 162.

"Drunkard's Children, The," 202.

Drury Lane Theatre, 34.

Duel between the Dukes of Buckingham and Bedford, 81, 97. Between the Duke of Wellington and the Earl of Winchelsea, 248. Between Sir Francis Burdett and Mr. Paull, 249.

"Duel that did not take place," 262.

"Duelling," 106.

Dumbiedikes, 176.

"Dying Clown, The," 233.

East Retford Bill, 236.

Ecclesiastical Titles Bill, 386.

"Economical Humbug of 1816," 144.

Egan, Pierce, 85, 113, 120.

Egypt, French driven out of, 13.

Eldon, Lord, 70.

Elgin Marbles, 145.

Ellenborough, Lord, 66, 67, 70.

Elliston, Life and Enterprises of, 205.

"England's Hope Departing," 151.

English Graphic Satire, Change in, 4.

English hostility to Napoleon, 16.

English Officers at the time of the Crimean War, 305.

English Parliamentary Representation in 1830, 235.

"English Spy, The," 116.

E. O! 161.

"Equipt for a Northern Visit," 161.

"Etching Moralized," 9.

Eugénie, The Empress, 317.

Evans, Sir de Lacy, 253.

"Examination of a Young Surgeon," 130.

"Exile of Louisiana," 197.

"Fagin in the Condemned Cell," 185.

Fairy Tales, Origin of, 205.

"Fall of Icarus," 264.

"Fall of the Leaf," 177.

"Fall of Washington, or Maddy in Full Flight," 46.

"Fashionables of 1817," 151.

Fashions in the early part of the Century, 91, 92.

Fechter, 330.

"Female Lancers," etc., 94.

Ferdinand VII., 98.

"Figaro in London," 222-229, 232.

"Fine Lady, or The Incomparable," 152.

"Finish to the Adventures of Tom, Jerry, and Logic," 113.

"Fitzalleyne of Berkeley," 118.

"Flat Catcher and the Rat Catcher," 106.

Foley, Mr., 39.

"Following the Leader," 250.

"Football," 107.

"Foot on the Stage and Asses in the Pit," 102.

Foote, Miss, 81, 101, 118.

Foote v. Hayne, 118.

"Foreign Affairs," 285.

"Foreign Rivals for British Patronage," 105.

Forrester, A. H. (Alfred Crowquill), 194, 368-371, 410.

"Four Mr. Prices," 164.

France, Evacuation of, 55.

"France the Great Nation," etc., 162.

"Frank and Free, or Clerical Characters in 1825," 106.

"Frank Fairleigh," 205.

Freewill Offerings of the Faithful, 39.

"French Cock and the Roman Eagle," 298.

French Colonels and the _Moniteur_, 310.

French driven out of Egypt, 13.

French interposition in Spain, 98.

French light wines, 313.

French military imbecility, 307, 309.

French Revolution, End of, 17.

French Revolution of 1830, 213.

French Royalist Caricatures on Napoleon, 24.

"Friends in Need," 143.

"Gambols on the River Thames," 135.

Gas, Introduction of, 29.

"Gavarni in London," 369 (_note_).

Genius, 187.

"Genius of France Expounding her Laws," etc., 142.

George III., 27, 214.

George IV., 52, 72, 79, 95, 111, 117, 143, 144 (_note_), 153, 155, 159, 164, 210 (and see "_Caroline of Brunswick_").

"General Frost Shaving Boney," 22.

"General Janvier," 306.

"German Popular Stories," 180.

"Gheber Worshipping the Rising Sun," 261.

"Ghosts," 181.

"Giant Grumbo," 154.

Gillray, James, 3, 4, 24, 25, 33, 84.

"Gin Shop, The," 168, 172, 184.

Gladstone, Mr., 398.

"Going it by Steam," 209.

"Going to Hobby Fair," 95.

"Golden Foot-Ball," 99.

"Gone!" 178.

"Good Effects of Carbonic Gas," 29.

Government Spies, 53.

Grafton, Duke of, 27.

Graham, Sir James, 252, 295.

"Grand Entrance to Bamboozlem," 80.

Graphic Alliteration, 177.

"Great Unknown lately discovered in Ireland," 104.

Greek War of Independence, 81.

Green Bag, Opening of the, 73.

"Greenwich Hospital," 171, 175.

Grey, Earl, 241, 244.

Habeas Corpus Act, Suspension of the, 52.

Hamilton, Lady Anne, 73.

"Hare Presumptuous," 106.

"Harp" (in Russell Street, Drury Lane), 87.

Haydon, B. R., 173.

Haynau, General, 298.

Hayne (see "_Pea-Green Hayne_").

HB, 5, 235-276.

Heath, H., 84.

Heath, William, 84, 104, 238.

Hervieu, A., 194.

"Hint to the Blind and Foolish," 162.

Hobbies, The, 59.

"Hobby-Horse Dealer," 154.

Hogarth, William, not a Caricaturist, 6. Absurdity of comparing him with Modern Comic Artists, 6.

Holy Alliance, The, 98.

"Homburg Waltz," 58.

"Horse Chancellor obtaining a Verdict," 159.

"Horse Marine and his Trumpeter," 91.

"Hostile Press, or Shakspeare in Danger," 104.

"How do you like the New Whig?" 296.

How to set up as a Prophet, 39.

Hughes Ball, 99.

"I'll be your Second," 241.

"Illuminated Magazine," 286.

_Incroyables_, The, 91.

"Impostor, or Obstetric Dispute," 134.

Indian Mutinies, 396.

Informers of 1817, 148.

"Ingoldsby Legends," 289, 400.

"Interesting Scene on Board an East-Indian," 152.

"Interior View of the House of God," 130.

"Introduction to the Gout," 152.

"Ireland": an Artist's Dream, 384.

Irish Coercion Bill of 1833, 269, 270.

"Irish Decency," 154.

Irish Disaffection in 1833, 266.

Irish _Festa_, 178.

"Jack o' Lantern," 181.

"Jack Sheppard," 172, 199, 343.

"Je vous n'entends pas," 122.

"Jemmy Twitcher" (Lord Brougham), 265 (_note_).

Jerrold, Douglas, 387.

Jim Crow, 252.

"John Bull buying Stones," etc., 146.

"John Bull brought up for a Discharge," etc., 147.

"John Bull Done Over," 60.

"John Bull flourishing in an attitude of Strict Neutrality," 99.

"John Bull in Clover," 60.

"John Bull _versus_ Pope Bull," 106.

"Jonathan Wyld discovering Darrell," 172.

"Johnny Bull and his Forged Notes," 154.

"John's Dream," 143.

Josephine, The Empress, 3, 20, 25.

Judge, Mr., 102.

Kaleidoscope, The, 58.

Kean, Edmund, 54, 103.

"Kean's Head" (Russel Court), 86.

Kenny Meadows, 355-363.

Kenyon, Lord, 241.

"Key to the Investigation," 67.

"King at Home, The," 117.

"King Gourmand XVIII.," etc., 99.

"La Belle Assemblée," 151.

Labedoyère, Colonel, 138.

"Ladies' Accelerator," 95.

La Diligence, 159.

La Douane, 159.

"Lancashire Witches," 200.

"Landing at Dover and Overhauling the Baggage," 95.

Lane, Theodore, 84-88.

"L'après-dîner des Anglais," 24.

"Last Cab-driver," 176.

"Leap Year, or John Bull's Establishment," 50.

Leech, John, 233, 277-335, 337, 407-409. "Sketches in Oil," 315.

Leigh, Percival, 282.

Leipzig, Battle of, 24.

Lemon, Mark, 201.

Leopold of Saxe-Coburg, Prince, 145.

_Les Graces_, 151.

Lever, Charles, 200, 352, 375.

"Lewis Arundel," 337.

"Libra--Striking the Balance," 177.

"Life of an Actor," 85.

"Life of Sir John Falstaff," 205.

"Life in London," 109. Egan's Share of the Work, 113.

Lines and Dots, 151.

Literary Black-Mail, 115.

"Little Boney gone to Pot," 132.

"Lolly Pop," etc., 162.

"London Barrow Woman, The," 169.

Londonderry, Marquis of: Scene between him and Lord Brougham, 262.

"Louis the Fat troubled with the Nightmare," 162.

Louis Philippe, 297, 383.

Louis XVIII., 98, 143, 162.

"Love, Law, and Physic," 154.

"Loyalist Magazine," 131.

McConnell, 372.

Maddison, President, 46.

"Man of Taste and Feeling," 209.

"Manners and Customs of ye Englishe," 385.

"Manslaughter Men, The," 158.

"March to Finchley, The," 7.

Marriage Act, The, 81.

"Martin Chuzzlewit," 341, 344.

Massena, 21.

"Master Cook and his Black Scullion," etc., 96.

"Master of the Ordnance Exercising his Hobby," 95.

"Mat de Cocagne," 143.

"Matheworama," 106.

"Mauger Sharpening his Axe," 186.

Maxwell's "History of the Irish Rebellion," 186.

Mayhew, H., 201.

Meadows (see "_Kenny_").

Medical Profession, Satire on, 35.

"Meditations Amongst the Tombs," 132.

Melbourne, Lord, 252.

Melville, Lord, 28.

"Mer de Glace," 159.

Mercandotti, Madamoiselle, 100.

"Meteor, The," 128.

Methodism, Spread of, 129.

Metternich, Prince, 150.

Milan Commission, 96.

"Miss endeavouring to excite a Glow with her Dutch Plaything," 41.

"Miss Foote in the King's Bench Battery," 102.

"Miss Foote putting her Foot in it," 102.

"Miser's Daughter," 173, 199.

Mitford, Jack (Editor of the "Scourge"), 129 (_note_).

Mob, A Cowardly, 247.

"Moments of Prattle," etc., 102.

Moray Minstrels, 374.

"More Plots!!!" 53.

"Morning after Marriage," 97.

"Morning Journal," 240.

Moscow, Retreat from, 22.

"Mother's Girl Plucking a Crow," etc., 91.

"Mr. Punch's Fancy Ball," 287.

"Murder of Sir Rowland Trenchard," 185.

"Mysterious Fair One," 95.

"Nap nearly Nabb'd," 22.

_Napoleon Bonaparte_. His Policy towards England, 13-18. Proclaimed Emperor, 17. Intention to invade England, 17. Lampooned by English Caricaturists, 19, 24, 26. Dislike to the Revolutionists, 26. His Star begins to Wane, 22. Retreat from Moscow, 22. Narrowly escapes Capture, 22. Leaves his Troops in Russia, 22. At Elba, 132. Return from Elba till his Fall, 137-142. French Royalist Caricatures on, 24.

Napoleon, Louis, 299, 300-302, 396, 397.

Napoleon III. (see "_Napoleon, Louis_").

"Nap's Glorious Return, or the Conclusion of the Russian Campaign," 24.

Navarino, Battle of, 82.

"Nest in Danger," 82.

"New Chancery Suit Removed," etc., 95.

"Newcomes, The," 377, 393.

"New Irish Jaunting Car," 95.

New Orleans, Attack on (see "_America_").

"New Readings of Old Authors," 221.

Newspaper Stamp Duty, 255.

Newspapers, Cheap, Curious Arguments against, 256.

Ney, Marshall, 139.

"Nicholas Nickleby," 340.

Nicholas, The Emperor, 303, 306, 395.

"Night Mayor," 146.

Nile (see "_Britannia_").

"Non Mi Recordo," 128.

"Nosing the Nob at Ramsgate," 159.

"Notice to Correspondents," 226.

"Novels by Eminent Hands," 375.

"Nun of Arronca," 254.

O'Connell, 106, 236, 237, 252, 270-272, 295, and _note_.

"Old Bags" (see "_Eldon, Lord_").

"Old Bumblehead the 18th," 162.

"Old Curiosity Shop," 341, 345.

"Old St. Paul's," 199.

"Old Thirty-nine shaking hands with his good Brother the Pope," 153.

"Oliver Twist," 192.

"O! O! There's a Minister of the Gospel," 159.

"Opening of Sir William Curtis' Campaign," 141.

"Oppidans' Museum, The," 117.

Origin of Species, 371.

Orsini Plot, 311.

"Ostend Packet in a Squall," 163.

"Our tough old Ship," 154.

Oxenford, John, 201.

"Pair of Spectacles, or The London Stage in 1824-5," 106.

"Palais Royal," 152.

Papal Aggression, 299, 386.

"Parisian Luxury," 163.

"Paul Pry," 84 (and see "_Heath, William_").

"Paving the way for a Royal Divorce," 70.

"Paying Off a Jew Pedlar," 175.

Pea-green Hayne, 101.

Peace-at-any-price Party, The, 383.

"Pedigree of Corporal Violet," 143.

Peel, Sir Robert, 272, 295, 296.

"Peel's Dirty Little Boy," 296.

"Peep at the Gaslights in Pall Mall," 29.

"Peep at the Pump Room," 57.

Pellegrini, Carlo, 5.

"Peter Schlemihl," 174.

Phiz (see "_Browne, H. K_.").

"Pickwick Papers," 230-234, 340, 364.

Pius IX., 298.

"Plebeian Spirit, or Coachee and the Heiress Presumptive," 40.

"Point of Honour, The," 171.

"Points of Humour," 119.

"Points of Misery," 119.

"Polish Diet with French Dessert," 22.

"Political Champion turned Resurrection Man," 95.

"Political Fair, A," 19.

"Political Shaver," 106.

Poole, John, 230.

Popple _v_. Stockdale, 106.

Popular Discontent of 1816, 51.

"Portrait of a Noble Lord in Order," 297.

"Portraits of the English," 354.

"Preachee and Floggee Too," 153.

"Premier's Fix," 296.

"Premium, Par, and Discount," 162.

"Preparing for a Duel," 163.

"Preparing for the Match," 145.

"Preparing for the Witnesses," 96.

"Presenting a Bill of Indemnification," 83.

Prince of Wales' Theatre, its former titles, 225.

Prince Regent (see "_George IV._").

"Prisoners of War," 269.

"Probable Effects of Good Living," etc., 295.

"Punch," 287, 383. Rivals of, 367.

Purchase System, 305.

"Put Out," 297.

"Queen Caroline running down the Royal George," 78.

"Randolph and Hilda dancing at Ranelagh," 173.

Rawkins, 279.

"Recollections of the Court of Common Pleas," 171.

"Redgauntlet," 185.

Reform Bills of 1831-32, 242-245.

Regent (see "_George IV._").

"Religion à la Mode," 311.

Religious credulity of English people, 37.

"Results of a Northern Excursion," 161.

"Return of Hercules from a Fancy Ball," 279.

"Revolution at Madame Tussaud's," 178.

Rice, the American Comedian, 251.

"Rival Newsmongers," 258.

Rival Richards, 55.

Robinson, Mr. Frederick, 135.

Robson, Thomas Frederick, 325.

"Roland Cashel," 350.

Romeo Coates, 49.

Roscius, The Young, 28.

"Rose Maylie and Oliver," 192.

Rowlandson, Thomas, 3, 83, 84 and _note_, 118.

"R-y-l Condescension," 149.

"Royal Extinguisher," 159.

"Royal Laundress," 143.

Royal Levées, 308.

"Royal Nuptials," 145.

"Royal Red Bengal Tiger," 154.

"Royal Rushlight," 156.

Russell, Lord John, 236, 237, 242, 243, 244, 253, 254, 300, 306, 321, 398.

Russia and Turkey, 82, 395.

"Russian Bear's Greece," 82.

"Russian Condescension," 133.

"Russian Dandy at Home," 56.

"Sailors Carousing," 175.

"Sailors' Description," etc., 162.

"Saint Shela," 162.

"Sales by Auction, or Provident Children," etc., 153.

Sandford and Merton, 121.

"Satirist, or Monthly Meteor," 131.

"Scene after the Battle," 132.

"Scene in the New Farce as performed at the Royalty," 155.

"Scene in the New Farce called the 'Rivals,'" 61.

"Scene in the Farce of 'Lofty Projects,'" 164.

"Scene from the Pantomime of 'Cock-a-Doodle-Doo,'" 103.

"Scotch Fiddle," 161.

Scott, Sir Walter, 105.

"Scourge, The," 21, 128.

"Sealing up the People," 38.

"Secret Insult, or Bribery and Corruption Rejected," 95.

"Sergeant introducing his Dutch Wife," 169.

Seurat, Claude Ambroise, 104.

Seymour, Robert, 208-234, 405.

"Seymour's Humorous Sketches," 218.

"Shadows," 372.

Shannon and Chesapeake, 44.

Shiel, Mr., 269.

"Shortshanks" (Robert Seymour), 208.

"Showing Off," etc., 162.

"Sick of the Property Tax," 143.

"Sikes and the Dog," 172.

Silver Ball, 102.

"Simon Renard and Winwike," 172.

"Simpkin Dancing," 175.

Skeleton, The Living, 104.

"Sketches by Boz," 172, 176.

Smith, Albert, 287-289.

Smithfield, 297.

"Smoke Jack the Alarmist," 154.

"Snuffing and Smoking," 220.

"Snuffing out Boney," 133.

Southcott, Joanna, 36-40, 134.

"Spa Fields Orator Hunting for Popularity," 151.

Spa Fields Riot, 51.

Spain, Invasion of, by Duc d'Angoulème, 81.

"Spanish Flies, or Boney taking an Immoderate Dose," 20.

"Spanish Mule and a French Jackass," 162.

Speculation Mania of 1825, 163.

"Spirit Moving the Quakers upon Worldly Vanities," 59.

"Sprig of Shelalegh," 171.

St. Albans, Borough of, 301.

St. Dunstan, 183.

"St. James's, or the Court of Queen Anne," 179, 199.

St. John Long the Quack, 214-217.

"St. Swithin's Chapel," 168.

Stanley, Lord, 252.

"State Physicians Bleeding John Bull to Death," 147.

"Steward at Sea in a Vain Tempest," 95.

"Steward's Court of the Manor of Torre Devon," 78.

"Stroller's Tale" in "Pickwick," 232.

Sue's "Orphan," 122.

Sullivan, Arthur, 374.

"Sunday under Three Heads," 342.

Surgeon, An Eccentric, 279.

Surtees, R. W., 320.

Sussex, Duke of, 249.

"T Trade in Hot Water," 152.

"Table Book," 201.

"Tables Turned," 162.

"Taking an Airing in Hyde Park," 247.

Tallien, Madame, 25 (and _note_).

"Taurus, a Literary Bull," 177.

"Tea Just Over," 27.

Tenniel, John, 394-400.

Tenth Hussars, 81, 100.

Terry, Kate, 375.

Thackeray, W. M., 92, 201, 285, 316, 318, 387. As a Book-illustrator, 375-380.

"Theatrical Fun Dinner," 378.

"Three Courses and a Dessert," 171.

"Through the Looking-glass," 400.

Toleration Acts, Motion to amend them, 129.

Tom and Jerry, 110.

Tom Thumb, 173.

"Tower of London," 172.

Tozer, Mr., 39.

Tract Droppers, 112.

Transit, Robert (Robert Cruikshank), 117.

Treadmill, 97.

Trenton's Porter, 2.

"Triumph of Cupid," 182.

Two Elves, The, 180.

"Urgent Private Affairs," 307.

"Vagaries in Quest of the Wild and Wonderful," 218.

"Vanity Fair," 92, 378.

"Vaux and the Grapes," 265.

"Venus de Medici," 159.

Victoria, Queen, 61, 275.

"View in Cumberland," 100.

"Virginians," 377.

"Vis-à-Vis," 151.

"Visit to Vesuvius," etc., 159.

Vitoria, Battle of, 24, 132.

"Voila t'on Mort," 154.

"Waiting on the Ladies," 164.

"Waltzing," 107.

Wardle, Colonel, 31.

"Washing Boney's Court Dresses," 143.

Washington, Burning of (see "_America_.")

Watts Phillips, 372.

Waverley Novels, 104, 176.

Wellington, Duke of, 55, 141, 246-249, 395.

Westmacott, C. M., 100, 115, 119.

Wilkes, 7.

William IV., 245, 261.

Williams, C., 84.

"Windsor Castle," 199.

"Witches' Frolic," 181.

"Wolves Triumphant," 103.

Wood, Alderman, 73.

Wood Engraving, its injurious effect on Caricature, 5.

Woodward, G. M., 3, 84.

"Worship of Bacchus," 203.

"Wrekin" (Long Acre), 87.

"Xit," 186.

Year 1848, 383.

York, Duke of, 30.

Butler & Tanner, The Selwood Printing Works, Frome, and London.