CHAPTER XVIII.

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

We gather from the article in "The Month" which followed his death, and

to which we have to acknowledge materials of which we have availed

ourselves in the revision of the present chapter,[186] that Richard

Doyle's first work was _The Eglinton Tournament, or the Days of Chivalry

Revived_, which was published when he was only fifteen years old. Three

years later he produced _A Grand Historical, Allegorical, and Classical

Procession_, a humorous pageant which the same authority tells us

combined "a curious medley of men and women who played a prominent part

on the world's stage, bringing out into good-humoured relief the

characteristic peculiarities of each." Apart from his talent, it was no

doubt the fact of his being his father's son--the son of John Doyle, the

once famous and eminent HB--which first attracted the attention of the

promoters of _Punch_, and he was only nineteen when, in 1843, he was

taken on the regular pictorial staff of that periodical. It was to the

cheery, delightful pencil of Richard Doyle that the paper owed much of

the popularity which it subsequently achieved.

"It was from his father that he not only inherited his artistic talent,

but received, and that almost exclusively, his artistic training." The

writer in "The Month" goes on to tell us that John Doyle would not allow

his son "to draw from models; his plan was to teach the boy to observe

with watchful eye the leading features of the object before him, and

then some little time after reproduce them from memory as nearly as he

could.... He had no regular training in academy or school of art; he

painted in the studio of no master save his father; and it is curious to

see how his genius overleapt what would have been serious disadvantages

to an ordinary man.... He attached himself to no school; he was not

familiar, strange to say, with the masterpieces of foreign artists. He

had never been in Paris, or Rome, or Vienna." It will be well for the

reader to bear this in mind, because Doyle is one of the few book

illustrators or etchers whom the professional art critic has

condescended to notice, and it will enable him the better to understand

and appreciate the soundness of his criticism. No one, we are told, owed

less than Richard Doyle "did to those who had gone before him; and if

this rendered his works less elaborate and conventional, it gave them a

freshness and originality which might have been hampered if he had been

forced into conformity with the accepted canons of the professional

studio."[187] The writer of the article from which we have quoted would

seem to have read what Mr. Hodder has told us respecting his friend

Kenny Meadows, for the following is certainly not new to us: "He was not

a self-taught artist, for he was trained by one who had a genius kin to

his own, but he was an artist who had never forced himself into the

observance of those mechanical rules and canons which to ordinary men

are necessary to their correct painting (just as rules of grammar are

necessary to correct writing), but hamper and trammel the man of genius,

who has in himself the fount whence such rules proceed, and

instinctively follows them in the spirit, though not in the letter. So

far as they will forward the end he has in view, and no farther."[188]

It will be seen by the above that the kindly writer gives Doyle credit

for _genius_, and we who are strictly impartial will cheerfully admit

that if he had not positive genius,--which we somewhat doubt,--he was

certainly one of the most genial and graceful of comic designers.

It was _Punch's_ practice during the earlier years of his career to

produce a new cover with each succeeding volume.[189] Richard Doyle,

however, signalized his accession by the contribution of a wrapper which

was considered too good to be thrown aside at the expiration of a few

months. The well known and admirable design was stereotyped, and still

forms, with certain modifications, the permanent cover of _Punch's_

weekly series.

Specially worthy of note amongst his _Punch_ designs may be mentioned

_The Napoleon of Peace_ (Louis Philippe), and _The Land of Liberty_,

"recommended to the consideration of Brother Jonathan." In the latter,

allusion is made to the Mexican war, rifle duelling and rowdyism,

repudiation, Lynch law, and the then but no longer "peculiar

institution." These will be found in the thirteenth volume, with a

design of great excellence, _Punch's Vision at Stratford-on-Avon_,

supposed to occur in the house of Shakespeare.

A new English (?) party had been growing up and gradually forcing itself

into English politics. This was the Peace-at-any-price party, the

members of which, oblivious of the fact that the best preservative of

peace is to be found in a perpetual state of readiness for war, erased

from their minds all remembrance of the position won for the nation by

our glorious army and navy, and ruled that national honour and national

obligations must now be considered subordinate to the interests of

peace, trade, and commerce. Conspicuous among these men of the new

school was Mr. Cobden, an able, earnest, but (so far as our foreign

policy was concerned) thoroughly mistaken enthusiast. He figures as

"Peace" in Doyle's cartoon of _John Bull between Peace and War_ (_i.e._

the Duke of Wellington). In _Gentlemen, make your Game while the Ball is

Rolling_ (1848), the best cartoon ever designed by Richard Doyle, the

various European monarchs are engaged at _roulette_ under the auspices

of _Punch_ himself. The ball is the world, and the edges of the board

are respectively inscribed, "Reform," "Progress," "Republicanism,"

"Equality," "Constitutional Government." "Anarchy," and "Liberalism."

Bomba of Naples having staked a large sum, he and other monarchs follow

the erratic movements of the ball with absorbing attention. In the

background may be seen the then Queen of Spain and Louis Philippe, who,

having staked their all and lost, are just leaving the apartment.

Another, following up the same subject, is the political sea serpent of

"Revolution" suddenly appearing above the surface of the sea and

upsetting, one after another, the cockle-shell boats in which the

various European sovereigns are endeavouring to get to shore. The writer

in the Catholic "Month" points out the fact that "this picture was drawn

in the earlier part of the year, before the Roman revolution, and the

Holy Father was still riding safely unharmed by the monster which is

working havoc in France and Germany, and Austria and Spain." In _The

Citizen of the World_ we find a capital skit upon the "admirable

Crichton" delusion which made my Lord Brougham fancy himself in every

character he chose to assume, or on any subject to which he condescended

to give his attention, _facile princeps_. Here we find him figuring in

turn as an English Lord Chancellor, a German student, a French subject,

a French National Guard, an American citizen, a Bedouin Arab, a

Carmelite monk, a Chinese mandarin, an Osmanli, a red Indian, a Scottish

shepherd, and by the unmistakable nose and self-complacent smirk on his

countenance, it is clear that in each and every character Henry Lord

Brougham feels himself thoroughly at home. _The Sleeping Beauty_ is a

clever composition. "Beauty," by the way, is Lord John Russell, and

amongst the sleeping attendants may be recognised the Duke of

Wellington, Benjamin Disraeli, Colonel Sibthorpe, and Lord William

Bentinck; while the ever indispensable Brougham of course puts in an

appearance, this time in the character of a jester.

Richard Doyle, as we have seen, was young when he joined the ranks of

the _Punch_ staff. Young men are apt to "dream dreams," and one of

Richard Doyle's was in truth a charming one. In _Ireland: a Dream of the

Future_, he shows us our Queen gazing into the depths of an Irish lake,

wherein she beholds prosperous towns, smiling fields, a contented

peasantry, flourishing homesteads, a land flowing with milk and honey.

On the opposite bank sit in dreary solitude a starving cottier and his

family. This was Richard Doyle's dream in 1849. He did not live to wake

to the reality of 1884: half a dozen "Gladstone" bags filled with

American dynamite, the property of subjects of a republic who allows her

mongrel murderers to plot the deaths of thousands of the people of a

friendly nation without lifting a hand or a finger to restrain them. A

home government too weak to pass a law which would stop these outrages

by hanging these foreign miscreants as high as Haman. These formed no

part of course of the young artist's dream. He delighted in sunshine.

The year 1850 was memorable for the repeal of the window tax, one of the

most extraordinary impositions which ever crossed the inventive mind of

a Chancellor of the Exchequer. "Hollo! old fellow," says a workman to

his family, hailing the unwonted appearance of the sunbeams in their

dark and dreary apartment, "Hollo! old fellow; we're _glad_ to see you

here."

Among the numerous illustrations which Doyle designed for _Punch_,

probably the most original were the series entitled "Manners and Customs

of ye Englishe," which, under the title of "Bird's-eye Views of English

Society," he afterwards continued in the _Cornhill Magazine_ in a more

elaborate form. The "Manners and Customs" form a curious record of the

doings of the period, and remind us of "Sam Cowell" and the cider

cellars, the Jenny Lind mania, Julien and his famous band, Astleys, the

Derby day, and many of the forgotten scenes and follies in which some of

us may have mingled in days gone by. They are very clever so far as they

go; but none of them, as the writer in "The Month" would have us

believe, are at all "worthy of" or in any way remind us of "Hogarth"

(why are all the writers on _comic_ art immediately reminded of

Hogarth?). "Each face in one of these pictures--_A Prospecte of Exeter

Hall, showynge a Christian Gentleman denouncynge ye Pope_," says the

same writer--"deserves a careful study, and tells the tale of bigotry,

prejudice, and gaping credulity which has made Exeter Hall a bye-word

among men." Although we agree with the writer on this subject, we would

at the same time take leave to remind him that the Catholics are

singularly fortunate in England compared with the religious freedom or

tolerance enjoyed by Protestants in Catholic countries--in Italy for

instance, or in Spain. As for "bigotry," let him look only at Catholic

France during the reign of priestcraft there, where an actor of the

position of Talma, writing with reference to a proposed monument to his

English brother, John Kemble, could add by way of shameful contrast, "Je

serai trop heureux _ici_ si les pretres _me_ laissent _une tombe dans

mon jardin_!"

When we first completed this chapter, and while the artist was yet

living, we deemed it better to say as little as possible in reference to

the conscientious motives which induced him to throw up his lucrative

position on _Punch_, and with it the whole of his splendid prospects in

comic art; and this course we had decided to follow after Richard Doyle

had been removed from us by death. As, however, the Catholic organ has

entered fully into the subject, not only is every cause for further

reticence removed, but by being placed in a position to understand

causes and motives, we are enabled to do justice to the memory of this

most generous and unselfish of men.

The Catholics have cause to feel satisfied with the results of what the

benighted Protestants of England are apt to term the "Papal Aggression."

The conduct of the latter in relation to this portentous event is thus

described by "The Month":--"In 1850 the Catholic Hierarchy was

established in England, and the Protestant public raved and stormed and

talked bigoted nonsense without end respecting this new invasion.

Parliament passed the futile and obsolete Ecclesiastical Titles Bill,

and _Punch_ took up the popular cry. Cardinal Wiseman was represented as

'tree'd' by the Papal bull, and comic verses and personal ridicule was

lavished on the Pope, the new hierarchy, and Catholics generally.

"Doyle remonstrated, but received answer that, as he had been allowed to

turn Exeter Hall and its doings into ridicule, it was only fair that his

own opinions should have their turn. But those who used this argument

little knew, and could scarcely be expected to know, the difference

between the devotion of supernatural faith and the bigotry of a

self-chosen creed. Doyle was anything but narrow or over-scrupulous. It

was not any of the cartoons which was the immediate occasion of the step

that he took, nor was it (as some of the notices of him have intimated)

any mere personal attachment to Cardinal Wiseman. 'I don't mind,' he

said, 'as long as you keep to the political and personal side of the

matter, but _doctrines_ you must not attack.' Douglas Jerrold and

Thackeray were not likely to appreciate this reversal of the general

sentiment, which resents personal attack above all else. 'Look at the

_Times_,' they argued; 'its language has been most violent, but the

Catholic writers on its staff do not for that reason resign. They

understand, and the world at large understands, that the individual

contributor is not responsible for the opinions expressed by other

contributors in articles with which he has nothing to do.' 'That is very

well in the _Times_,' was Doyle's answer, 'but not in _Punch_. For the

_Times_ is a monarchy [we believe these were his very words], whereas

_Punch_ is a republic.' So, when a week or so later an article,

attributed to Jerrold himself, jeeringly advised the Pope to 'feed his

flock on the wafers of the Vatican,' it was too much for Doyle.

Dignified protest was not sufficient now. To be any longer identified

with a paper which could use such language was intolerable to the

faithful soul. To ply his skilful fingers and busy inventive brain in

behalf of those who scoffed at the Blessed Sacrament of the Altar was

out of the question. His connection with _Punch_ must cease. But is he

bound in conscience to throw away a good income and congenial work,

because there were expressed opinions different from his own in a paper

in which, republic though it was, solidarity was scarcely possible? Who

would expect that in a comic journal each and all of the contributors

should agree with each and every sentiment expressed? Never mind;

whatever Richard Doyle might have been strictly bound to do, generosity

at least urged him to make the sacrifice--the sacrifice of his career,

of his future success it may be. At least he could show that Catholic

belief was no empty superstition, no set of mere traditional

observances, which sat lightly on the man of culture, even if in his

heart he accepted them at all. So he wrote to resign his connection

with _Punch_, stating the reasons plainly and simply. This was in 1850,

after he had been contributing for more than six years. Now he must

simply start afresh, in consequence of what his Protestant friends

regarded as an ecclesiastical crotchet. He must turn aside from the path

of worldly success; he must give up all for conscience' sake. But as the

_Daily Telegraph_ remarks, in an article respecting him that does it

honour, 'He made a wise and prudent choice. The loss was ours, not his;

and, apart from the claims of his genius to admiration, such conduct at

the critical moment of a career will never cease to command respect.'"

Passing by (as we may afford to do) the assertion that we Protestants

"raved and stormed and talked bigoted nonsense without end respecting

this new invasion," and the somewhat unnecessary boast that Lord John

Russell's Ecclesiastical Titles Bill has been suffered to become a

"futile and obsolete" measure, we would recognise the value of the

writer's remarks as establishing in the clearest possible manner the

perfect honesty and unselfishness of the motives which induced the

artist to resign his connection with _Punch_, and to throw up the

chances of an assured and brilliant future. We think however, that the

value of his statement does not end here. We may here acknowledge that,

while admitting the perfect purity and disinterestedness of Doyle's

motives, we ourselves never thoroughly understood them until we had read

the article from which we have quoted. We had taken into consideration

the fact that when he took this decided step he was but twenty-five

years of age, and we suspected (let us honestly own it) that other

influences might have been at work independent of the artist himself, of

which we as Protestants must always remain ignorant. There are grounds

on which Protestant and Catholic writers may meet one another even in

connection with religious questions; and although a "bigoted"

Protestant, I am glad to admit that the writer's clear and lucid

statement has removed an impression that was absolutely without

foundation.

With respect, however, to the ultimate consequences of this decisive

step, the Catholic writer and ourselves are wholly at variance. "We are

inclined to believe," continues the former, "that apart from the respect

he earned by his noble sacrifice, Mr. Doyle achieved a higher reputation

in consequence of his retirement from comic journalism, than if he had

continued to employ his pencil in its services all his life through. It

is true that his name was not, towards the end of his life, so familiar

to the popular mind of England as was that of John Leech at the end of

his career, and as that of Du Maurier at the present time, but the work

which he did in his later life was more lasting and more world-wide.

_Punch_ is an English periodical; you must be an Englishman to

understand the allusions. The humour is essentially and almost

exclusively English; it would never attain any great popularity in other

English-speaking nations, in spite of its undoubted claim to be the

first comic journal in the world. If Doyle had confined himself to the

pages of _Punch_, or directed his energies mainly to the weekly issue of

some design in its numerous columns, the limnings of his pencil would

scarcely be known outside of England, whereas all over the continent of

America, and in the English colonies, the old Colonel Newcome, and the

Marquis of Farintosh, Lady Kew, and Trotty Veck meet us with their

familiar faces as we turn over the Transatlantic editions of Thackeray

and Dickens, not to mention the exquisite paintings, of which we shall

have more to say presently, exhibited in the Grosvenor Gallery, and to

be found in many a country mansion as a lasting memorial of Dicky

Doyle." Does the writer seriously mean to tell us that Doyle could not

illustrate Thackeray and Dickens at the same time and side by side with

his illustrations for _Punch_ or any other serial of a satirical

character? Granted that _Punch_ is a periodical appealing to English

tastes and sympathies, yet it was through the introduction obtained by

means of its pages that the artist probably obtained employment upon the

very works to which the writer refers, and upon which (as he claims) his

reputation will rest.

Nor do we, nor can we, admit that, out of the circle of his

coreligionists, or the still narrower circle of educated unbiassed

minds, Doyle reaped much respect by the "noble sacrifice" of which the

writer speaks. English prejudice looks with special coldness on

conscientious motives it does not understand, and with which it can have

but little sympathy. Doyle was a man of purer motives and finer

sympathies than George Cruikshank; but the same insular prejudice which

conduced to the ruin of George Cruikshank, wrecked the future prospects

of an artist almost as original in some respects as the more brilliant

George. From the moment that Doyle retired from _Punch_, English

fanaticism and English prejudice persisted in regarding him as a

supporter of the "Papal aggression," and he permanently lost from that

moment the ground which his talent and his reputation had so honourably

won for him. From the moment he deemed it his duty to retire from the

circle of literary and artistic wits and humourists with whom he was

then associated, he took himself practically out of the range of comic

art, and the public ceased to trouble itself about him, although it had

lost (in the expressive language of Mr. Thackeray) "the graceful pencil,

the harmless wit, the charming fancy," of one of the most genial and

promising of English graphic satirists of the modern time. Before he

left _Punch_ he had executed for the periodical upwards of five hundred

illustrations, of which nearly eighty are cartoons.

But Richard Doyle manifested the honesty of purpose which was a part of

his noble nature by other sacrifices than his retirement from _Punch_.

From the friendly hand which has strewn flowers upon his grave, we learn

that at one time he was offered a handsome income to draw for a

periodical started some years ago, but declined the engagement because

he disapproved of the principles of those by whom it was conducted. "At

another he had a similar offer made him by a distinguished statesman on

behalf of a political journal, in which the work would have been light

and the remuneration excellent." He was offered his own terms to

illustrate an edition of Swift's humorous works; but here too he

refused, because he did not admire the morality of the witty Dean of St

Patrick's. "In these and other cases like them, religion, virtue, high

principle, carried the day against interests which would have proved too

much for any but a man of Doyle's noble and lofty character." His

biographer points out the fact that all this while he had to look to his

pencil for bread, and denies the statement, made by one of the leading

newspapers at the time of his death, that during the latter part of his

life he was independent of his profession.

In one set of illustrations, now very scarce and little known, Doyle has

shown that he possessed eminent powers as a caricaturist. We have a set

of lithographs before us, entitled, "Rejected Cartoons," a sort of

pictorial "Rejected Addresses," supposed to be intended for the then new

Houses of Parliament, some of them caricatures of the works of living

artists--Maclise, Pugin, etc., whose styles are closely imitated and

most amusingly burlesqued. Some of them are irresistibly droll, such as

King Alfred sending the Danes into a Profound Slumber with the Sleepy

Notes of his Harp; "Canute reproving the Flattery of his Courtiers;" The

Faces of King John and his Barons at the Signing of Magna Charta; Perkin

Warbeck in the Stocks; The Meeting of Francis and Harry in the Field of

the Cloth of Gold, etc. Few people with whom the touch of Richard Doyle

is perfectly familiar would recognise his hand in these amazing and

amusing cartoons. We met with them at a bookstall twenty years ago,

unconscious until lately that they were due to his pencil.

The once celebrated "Adventures of Brown, Jones, and Robinson" would

alone secure for this artist an eminent position amongst the number of

English comic designers. Graphically relating the experiences of the

most ordinary class of continental tourists, they cannot fail to bring

to the recollection even of the most commonplace traveller some of the

experiences which may have actually happened to himself. Doyle of course

enlarges on these experiences as his fancy and imagination suggest; but

after all, there is little which might not have actually befallen any

ordinary English travellers such as this unlucky trio. The episode of

"Jones's Portmanteau undergoing the ordeal of Search" at Cologne; The

scene at the "Speise-Saal" Hotel; The Jewish "Quarter of the City of

Frankfort, and what they saw there"; The Gambling Scene at Baden: The

Descent of the St. Gothard; The Academia at Venice; will appeal to the

actual experiences of nearly every continental tourist; and

notwithstanding its extravagant drollery, little Browne's adventure at

Verona is sufficiently possible to remind one of personal vicissitudes

encountered off the track or on the frontiers, which might almost match

the experiences of this personally uninteresting little sketcher.

[Illustration:

RICHARD DOYLE. "_Brown, Jones & Robinson_," 1855.

Robinson (_solo_): "I stood in Venice--," etc. Jones and Brown, having

heard something like it before, have walked on a little way.

_Face p. 392._]

Besides _Punch_, Mr. Doyle's hand will be found in the following:--"The

Fairy Ring," Leigh Hunt's "Jar of Honey," Professor Ruskin's "King of

the Golden River," Montalba's "Fairy Tales from all Nations," "Jack and

the Giants," "The Cornhill Magazine," "Pictures from the Elf World,"

"The Bon Gaultier Ballads," Thackeray's "Rebecca and Rowena," Charles

Dickens's "Battle of Life," "The Family Joe Miller," Mr. Tom Hughes'

"Scouring of the White Horse," "Pictures of Extra Articles and Visitors

to the Exhibition," Laurence Oliphant's "Piccadilly," "Puck on Pegasus,"

PLanche's "Old Fairy Tales," A Beckett's "Almanack of the Month,"

"London Society," and Mr. Thackeray's "Newcomes." Writing of this last,

Mr. Hamerton says, "I never regretted the hard necessity which forbids

an art critic to shut his eyes to artistic shortcomings more heartily

than I do now in speaking of Richard Doyle. Considered as commentaries

on human character, his etchings are so full of wit and intelligence, so

bright with playful satire and manly relish of life, that I scarcely

know how to write sentences with a touch at once light enough and keen

enough to describe them";[190] and then the critic goes on to expose the

glaring faults which characterize Mr. Doyle's performances from a purely

artistic point of view, his feeble attempts of light, his undeveloped

"sense of the nature of material," and his absence of imitative study.

It is somewhat singular that whilst Mr. Hamerton is silent on the

subject of the book etchings of Leech and Phiz, he should have selected

for criticism those of Doyle, who never intended to claim for these

sketches the dignity of _etchings_. The critic, however, is not only

just, but remarkably fair. With reference to the illustrations to the

"Newcomes," he acknowledges "their all but inestimable dramatic value."

"Illustrations to imaginative literature," he continues, "are too

frequently an intrusion and an impertinence, but these really added to

our enjoyment of a great literary masterpiece, and Doyle's conception of

the Colonel, of Honeyman, of Lady Kew, is accepted at once as authentic

portraiture. In Ethel he was less happy, which was a misfortune, as she

was the heroine of the book; but many of the minor characters were

successes of the most striking and indisputable kind." Further on, he

says of Doyle's etching, _A Student of the Old Masters_,--"Colonel

Newcome is sitting in the National Gallery, trying to see the merits of

the old masters. Observe the enormous exaggeration of aerial perspective

resorted to in order to detach the figure of the Colonel. The people

behind him must be several miles away; the floor of the room, if judged

by aerial perspective only, is as broad as the Lake of Lucerne." The

criticism, though exaggerated, is not unfair or unjust; but the people

are certainly not miles away. Doyle has perpetuated a mistake common

with many English artists, who seem to think, as Hazlitt expresses it,

that, "if they only leave out the subordinate parts, they are sure of

the general result."[191] Doyle's intention to give us a portrait of

Colonel Newcome _only_ has prompted him to treat the subordinates as

almost non-existent. His work, however, was never intended to be

faultless; it carries out his own intention most thoroughly and

admirably, and in a manner very far superior to anything which Thackeray

himself could have done.

The closing scenes in the life of this most amiable and unselfish of

artists we give in the singularly graceful words of his Catholic

biographer: "In the autumn of last year (1883), Mr. Doyle spent some

time in North Devon, and while there painted a picture of Lynton

churchyard. The view is taken at a distance of some ten or fifteen yards

to the south-west of the church, and is looking in an easterly

direction. In front of the picture one sees far down below the blue

waters of the Bristol Channel, while behind the picturesque little

church nestles among the trees. In the churchyard an old man is mowing

down the long grass amid the graves, while two or three little children

scatter flowers on one of them. This picture was unfinished at the time

of his death. A strange coincidence that he should have chosen such a

scene for his last picture, when, as far as man can judge, he had no

sort of reason for thinking that death was so near; stranger still, that

on his return home he chose for the sketch a black frame, as if to

clothe it in the garb of mourning for its maker. There it remains on his

easel, unfinished still, as if to tell of one cut off so suddenly, not

indeed in the summer of life, but in a mellow autumn, which seemed to

give promise of many years of good work still to be done. But the time

had come when the little sprites who peopled his dreams of earth, were

to be exchanged for the angel forms who were to welcome the faithful

servant to his reward in heaven. On the 10th of December, as he was

preparing to return from the Athenaeum club, Mr. Doyle was struck down by

apoplexy. An ambulance was procured, and he was carried home. He never

regained the power of speech, and it is doubtful whether he was ever

again conscious, though the priest who anointed him for his journey from

thence to heaven thought that he detected some traces of a joyful

acquiescence in the rite. The next morning, in the home where the last

years had been spent in quiet peaceful pursuit of the art he

passionately loved, his simple, innocent, loyal soul passed away from

earth to heaven."

* * * * *

It will be admitted that Mr. Tenniel joined the ranks of the graphic

satirists at the commencement of troublous times. The nations of Europe,

with the exception of England, whose slumbers still remained unbroken,

were all more or less awake. Prussia, insufficiently avenged (as she

herself considered) at Waterloo for the unendurable humiliations which

Napoleon had heaped upon her after Jena, had been unostentatiously

preparing for another deadly struggle with France, and perfecting the

most admirable military machinery of modern times. Russia, under

Nicholas, a thorough soldier in theory, had an army so elaborately

over-drilled that when the time came it was found practically useless

for the purposes of actual warfare. The sleep of England was suddenly

awakened by the war with Russia, and afterwards by the revolt of her

Indian mercenaries. The Russian was to be followed by a war between

France and Austria; the enfranchisement of Italy from the Alps to the

Adriatic; the fratricidal struggle between Prussia and Austria, and the

rending asunder within six weeks of the famous Germanic Confederation of

the Rhine. It is a somewhat singular coincidence that immediately before

the commencement of these troubles the great Duke of Wellington died, an

event commemorated by two remarkable cartoons of Tenniel, the first of

which is entitled _September_ XIV. _MDCCCLII._ (the day of the great

soldier's death), and the other, _The Duke's Bequest--for the most

Worthy_.

The year 1853 opened the eyes of those of us who fancied that war was a

thing of the past, and that the reign of Universal Peace had begun. Not

only was Turkey at war with Russia, but had given her a tremendous

thrashing at Oltenitza, an event alluded to in the artist's cartoon of

_A Bear with a Sore Head_. One of the best of his satires of the same

year depicts Aberdeen as he appeared in _The Unpopular Act of the

Courier of St. Petersburg_, wherein the premier attempts the risky feat

of driving a team of unmanageable horses. The features of the nervous

athlete betray much anxiety; the two fiery leaders, Russia and Turkey,

prove wholly beyond his control; while Austria, unsettled by their bad

example, is much disposed to be troublesome.

Matters went from bad to worse in 1854. England was not only thoroughly

aroused but angry, not only with her enemies, but with the foolish

people who had preached peace to her when there was no peace; and, in

_What it has Come to_, we find my Lord Aberdeen vainly trying to hold in

the British lion, whose ire has been roused by the Russian bear, who is

seen scampering off in the distance. Away goes the lion, with his tail

as stiff as a poker and every hair of his mane erect, dragging after him

the frightened premier, who exclaims, in the extremity of his terror,

that he can hold him no longer and is bound "to let him go." The Russian

war showed our singular unreadiness for warfare. Just at its close we

had provided ourselves with a fleet of vessels of light draught capable

of floating in the shallows which surrounded the Russian fortifications,

which, had they been ready at the time they were wanted, might have

proved of incalculable service. Britannia disconsolately eyes these

gun-boats from the summit of her cliffs. "Ah!" she sighs, "if you'd been

only hatched a year ago, what might have come out of your shells!"

Close upon the heels of the Russian war followed the mutiny of our

Indian levies. So closely did one event follow the other, that those who

have watched and learnt with reason to distrust the odious and insidious

policy of Russia towards this country, considered the coincidence a more

than singular one. The Franco-Austrian war came next; and the war wave

passed onwards to America, where the Northern and Southern states were

speedily engaged in fratricidal and deadly strife. Peace, driven from

land to land, found no resting place for the sole of her foot, and the

artist shows her to us, seated disconsolately pondering over these

untoward matters and her own unhappy condition on the breech of a

garrison gun.

_Punch's_ low estimate of the character and abilities of the Emperor

Louis is patent throughout those of Tenniel's satires in which he puts

in an appearance. In 1853 he takes us to an _International Poultry Show_

(in obvious reference to the Boulogne catastrophe) where, amid a variety

of eagles--the American eagle, the Prussian eagle--the double-headed

Austrian and Russian eagles--we find a wretched nondescript, half eagle

half barn-door fowl, labelled the "French eagle." Victoria (a royal

visitor) remarks to her astonished companion, "We have nothing of _that_

sort, Mr. Punch; but should there be a _lion_ show, we can send a

specimen!!" The approaching marriage of the French Emperor is alluded to

in the cartoon of _The Eagle in Love_, in which the present ex-Empress

(then Comtesse de Teba), whose likeness by the way is far from happy, is

represented as cutting his talons. The air of mystery which was a part

of his character, and was not so well understood in those days as it

afterwards came to be, not unnaturally misled Mr. Tenniel, for in his

satire, _Playing with Edged Tools_, we behold him studying (of all

things in the world) a model of the guillotine, an instrument of terror

to which those of the Bonaparte family who profess to be guided by the

policy of the great Napoleon, must always entertain the greatest

possible aversion.

_Punch_ not only looked upon the third Napoleon as a treacherous man,

but also as a dangerous and inconvenient neighbour. In the cartoon

labelled, _An Unpleasant Neighbour_ (1859), we see him in the act of

placing outside his firework shop a flaming advertisement, whereon we

read in the largest possible type, "Blaze of Triumph! Roman

Candles!--Italian Fire!"[192] His neighbour, John Bull, proprietor of

"The Roast Beef House" next door, rushes out in a very excited state,

"Here have I got," says he, "to pay double insurance, all along of

_your_ confounded fireworks!" The next cartoon shows us Louis, _alias_

"Monsieur Walker," after he has closed his establishment and chalked up,

"The Business to be disposed of," while incredulous John places his

finger to his nose as Louis assures him, "Ah, friend Johnny! I close my

shop entirely to please _you_!" In _The Congress Quadrille_, Louis

vainly essays to make himself agreeable to Miss Britannia (a good

example of the artist's handsome women)--"Voulez-vous danser,

Mad'moiselle?" says Louis. Britannia, however, having been his partner

on more than one memorable occasion, had had quite enough of him and his

peculiar style of dancing. "Thanks,--no!" she languidly replies,

thinking doubtless of her experiences of the Russian quadrille--of the

Chinese country dance, etc., etc. "I'm not sure of the figure--and _know

nothing of the Finale_."

Mr. Tenniel's art training before he joined the _Punch_ staff, combined

with his undoubted genius, renders him unquestionably one of the most

versatile of modern designers. His satire is something quite apart from

his caricature, and the former is characterized by a strong dramatic

element particularly noticeable in serious illustrations, such as his

designs to "The Pythagorean," in the second volume of "Once a Week." In

caricature he resumes in a measure the manner of the older

caricaturists, without retaining a trace of their vulgarity, and a good

example will be found in his cartoon of _What Nicholas heard in the

Shell_ (1854), in which the features and salient points of the figure

are intensely overdrawn. His caricature pure and simple seems to us

always inferior to his satirical power; as fine examples of the latter

we may mention: _The British Lion Smells a Rat_ (an angry lion sniffing

at a door, in allusion to the conference which followed the fall of

Sebastopol); _The British Lion's Vengeance on the Bengal Tiger_, which

chronicles the ghastly massacre of Cawnpore; _Bright the Peace Maker_

(1860), in which _Punch_ testifies his indignation at the manner in

which Mr. Bright endeavoured to create a popular feeling against the

House of Lords; _Poland's Chain Shot_ (1863), a stirring and powerful

composition, wherein Poland, gallantly struggling once more for freedom,

breaks her chains and fiercely rams them into a cannon; _Humble Pie at

the Foreign Office_ (1863), and _Teucer Assailed by Hector is Protected

by the Shield of Ajax_ (1864), in which Lord John Russell is the subject

of satire; and _The False Start_ and _Out of the Race_ (the same year),

in the first of which Palmerston endeavours to restrain the leaning of

Gladstone towards democracy, the last showing the result of his

inattention to the starter's warning. In all these and a host of other

admirable satires, the superior art training of Mr. Tenniel is seconded

by his strong dramatic power, and above all by his unquestionable

_genius_. It would be a poor compliment to him to deny that he had his

failings--which indeed of the admirable satirists who preceded him had

not? His failings, when they do occur, are perhaps more noticeable on

account of his style and the mode in which he frequently drapes his

figures. We have heard it objected to him, for instance, that the beauty

of his female figures is occasionally marred by the somewhat

disproportionate size of their feet, and this charge seems to us

sustainable. Mr. Tenniel displays rare excellence in the drawing of

animals--an excellence peculiarly noteworthy in such cartoons as _The

British Lion Smells a Rat_, and _The British Lion's Vengeance on the

Bengal Tiger_.

Embracing a period of only fourteen years, from 1851 to 1864, during

which time he worked side by side with his friend and colleague, John

Leech, on the pages of _Punch_, our notice of the cartoons of John

Tenniel must necessarily be short. During the last three years of his

life, when, as we have seen, the strength of the artist who had been on

the pictorial staff from the commencement had been gradually failing,

the execution of the weekly cartoons had fallen almost entirely upon Mr.

Tenniel. As fellow-labourers, constantly associated on the same

periodical, we are enabled to compare their individual merits. The

conclusion we have arrived at is as follows: That as a political

_satirist_, Tenniel is the best of the two; while as a delineator of

English habits, manners, eccentricities, and peculiarities, Leech finds

no equal. After 1864, when the artistic friendship and partnership (so

to speak) of these gifted men was dissolved by the untimely death of

John Leech, it would be beyond the declared scope and purpose of this

work to follow Mr. Tenniel further. Unlike the caricaturists who

preceded him, many of whom relied on humour, more or less forced, for

the success of their productions, the cartoons of John Tenniel are

oftentimes distinguished by a gravity and sternness of purpose which,

combined with their artistic excellence, appeals forcibly to the

imagination. Unfortunately, as in the case of those of John Leech, these

truly admirable examples of nineteenth century satire, apart from the

_Punch_ volumes themselves--owing to the material on which they are

impressed and the process to which the original drawings are

subjected--are practically valueless by the side of an indifferent

caricature torn from the scurrilous and worthless pages of "The Scourge"

or "The Meteor."

To the persons who charge this artist with want of humour, his cartoon

of _Britannia Discovering the Source of the Nile_--probably the most

comical picture in the whole of the _Punch_ volumes--will afford the

most conclusive answer, as will also the quaint and mirth-provoking

little pictures which he designed for "Alice in Wonderland," its sequel,

"Through the Looking-glass," and the 1864 edition of the "Ingoldsby

Legends." One of these last, by the way, so closely resembles a scarce

design of John Leech's in the "New Monthly," that the coincidence will

strike any one who has an opportunity of comparing the two together.

During the fourteen years that Mr. Tenniel was a fellow-worker with the

late John Leech, he contributed to the pages of _Punch_ about 1,400

designs, of which upwards of 400 are cartoons. We believe we are correct

in stating that all these illustrations, and his subsequent and

contemporary designs, were drawn at once upon the wood block, not a

single preliminary sketch having been made.

* * * * *

Here, in accordance with the plan which we designed when we sat down to

write this work, we bring our labours to a close. If we have omitted all

mention of two very excellent and talented artists, Messrs. Charles

Keene and George Du Maurier, it is not from any lack of appreciation,

but because one of them at least began his labours just about the period

when those of John Leech were drawing to a close, while the reputation

of both were made _after_ their distinguished contemporary was laid to

his rest. The merits of both these able men and of those now following

after them must be left to be dealt with by another chronicler.

Although, as we remarked in our opening chapter, the wood engraver has

rung the knell of English caricature, with such clever men as Colonel

Seccombe, Mr. Proctor, Mr. Randolph Caldicott, Mr. F. Barnard, the

present George Cruikshank, Mr. Chasemore, and others whose names do not

at present occur to us, there is happily no prospect of a decline in the

art of English graphic satire.

FOOTNOTES:

[186] The present chapter was written before the artist's death; but

I have to acknowledge the great assistance I have derived in its

_revision_ from the authority indicated.

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

[188] _Ibid._, page 317.

[189] One of these (and a very effective one) was the work of the

present Sir John Gilbert.

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

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

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

APPENDICES.

APPENDIX I.

_SOME ILLUSTRATIVE WORK OF ISAAC ROBERT CRUIKSHANK._

Coloured frontispiece to the "Age of Intellect; or, Clerical Show Folk

and Wonderful Lay Folk," by Francis Moore, Physician. 1819.

"Lessons of Thrift, published for the general benefit, by a Member of

the Save-all Club," eleven coloured full-page etchings. 1820.

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

Strand.) 1820.

"A Peep at the P. C. N.; or, Boiled Mutton with Caper Sauce at the

Temple of Joss." (Effingham Wilson.) 1820.

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

[_With his brother George._] Designs to Nightingale's "Memoirs of Queen

Caroline." (J. Robins.) 1820.

"Radical Chiefs." One caricature illustration. 1821.

"The Royal Game of Chess." 1821.

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

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

Strand.) 1821.

"Tales of the Cordelier Metamorphosed." 1821.

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

Jones.) 1821.

"The Commercial Tourist; or, Gentleman Traveller." (A satirical Poem),

five coloured plates. 1822.

"Mock Heroicks; or, Snuff, Tobacco, and Gin, and a Rapsody on an

Inkstand." Four caricature engravings. 1822.

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

1822-1825.

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

Anecdote." 1822.

"My Cousin in the Army; or, Johnny Newcome on the Peace Establishment."

Many coloured plates. 1822.

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

1823.

A series of drawings on wood to the "Spirit of the Public Journals for

1823 and 1824." (A selection of essays, jeux d'esprit, tales of humour,

etc., 2 vols.)

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

& Lacey.) 1824.

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

"Spirit of the Public Journals for 1825."

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

Enlarged." 1826.

[_With his brother George._] "London Characters." (Twenty-four plates,

of which nine only are by Robert.) Robins. 1827.

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

Grimm. 1827.

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

Smeeton's "Doings in London." 1828.

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

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

[_With his brother._] The designs on wood for the "Universal Songster;

or, Museum of Mirth." (3 vols.) 1828.

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

Eccentricity." 1828.

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

_The following between 1830 and 1832._

"Cruikshank's Comic Album" (sometimes called "Facetiae"), being a series

of little books published by Kidd, Miller, and others, afterwards

collected into 3 vols.

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

"The Condition of the West Indian Slave contrasted with that of the

Infant Slave in our English Factories."

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

Military Body."

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

"Robert Cruikshank _versus_ Sir Andrew Agnew."

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

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

"A Slap at the Times."

Illustrations to Foote's "Tailors," and "Mayor of Garratt"; O'Hara's

"Midas"; "The Beggars' Opera"; "Katherine and Petruchio," and others.

_The following between 1831 and 1836._

Design on wood for "Figaro in London."

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

Thief."

Twenty illustrations to W. R. Macdonald's "Comic Alphabet." (A rival to

George Cruikshank's work of the same title.)

Eighty-five designs on wood to Crithannah's "Original Fables." Six

designs on wood for "Readings from Dean Swift His Tale of a Tub, with

Variorum Notes, and a Supplement for the use of the Nineteenth Century,"

by Quintus Flestrin Grildrig.

Johann Abricht's "Divine Emblems." And [_with his brother_]

illustrations to J. Thomas's "Burlesque Drama." 1838.

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

Volume."

_The following in 1839-1840._

Ten vignettes to "The Lady and the Saints." Twelve designs on wood to

"Colburn's Kalendar of Amusements in Town and Country." "Cozi Toobad."

[_With W. Lee._] Twenty-three steel plates and designs on wood for "Jem

Blunt," by Barker (author of the celebrated "Greenwich Hospital").

_1842 and 1844._

[_With John Leech._] "Merrie England in the Olden Time," by George

Daniel. (Since rep. by Warne & Co.) Three illustrations to "James

Hatfield and the Beauty of Buttermere." [_With R. W. Buss and T.

Wageman._] "Cumberland's British and Minor Theatre." Fourteen etchings

to Abraham Elder's "Tales and Legends of the Isle of Wight." Nine

aqua-tinta plates to Hugo Playfair's "Brother Jonathan, the Smartest

Nation in all Creation."

_From 1845 to 1849._

"Sketches of Pumps Handled by Robert Cruikshank." Twenty-four etchings

to "The Orphan; or, Memoirs of Matilda" (a translation of Sue's

"Mathilde"). Forty etchings to "The Bertaudiere" (Chronicles of the

Bastile).

_And the following_.

Francis L. Clarke's "Life of Wellington." Kentish's "Hudibrastic History

of Lord Amherst's Visit to China." "The London Directory and London

Ambulator." "Golden Key of the Treasures of Knowledge." "The Little

World of Great and Good Things." E. Thomson's "Adventures of a Carpet."

"Raphael's Witch; or, Oracle of the Future" (ten coloured designs). "The

London Stage" (a collection of about 180 plays, with a cut to each play;

4 vols.). Portrait of Mr. Oxberry as "Humphrey Gull" in the "Dwarf of

Naples," etc., etc.

APPENDIX II.

_SOME MISCELLANEOUS WORK OF ROBERT SEYMOUR EXECUTED BETWEEN 1822 AND

1836._

"Views from the Poets." "The Devil on Two Sticks." "Ovid."

"Demosthenes." Views of Newstead Abbey, Margate, Dover, etc. Designs for

"Benevolence, Friendship, and Death." "Quarrels of the Poets."

"Anatomical Theatre." "Vanities of the Human Race." "The Happy Family."

"The Gin-shop." "The Sleepwalker." "The Sluggard." "Don Juan." "The

Economist." "The Chemist." "The March of Intellect." "The Great Joss and

his Playthings." "The R----l Speech." The Works of Wordsworth, Southey,

Gay, and other poets. Robinson's "History and Antiquities of Enfield."

Shakspeare's "Seven Ages." Hogarth's "Apprentices," and "Rake's

Progress." "Uncle Timothy." Views of London. Sporting Almanacks. "Percy

Anecdotes." "Book of Martyrs." "Portraits of Public Characters." "Death

in London." "Spectre Bride." "Midnight Embrace." "The Red King." "The

Ghost with ye Golden Casket." "The Devil's Ladder." "Assisting,

Resisting, and Desisting."

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

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

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

"The National Omnibus," a journal of literature, etc. (designs on wood,

with Cruikshank), 1831-1832; "The Comic Magazine," 1832-1834;

Richardson's "Minor Drama," 1827-1830; Piers Shafton Granton's "Vagaries

in Quest of the Wild and Wonderful"; "Mrs. Greece and her Rough Lovers"

[Russia and Turkey] (McLean), 1828; "How to Spell Harrowgate" (C. King),

1828; "Going by Steam" (G. King); "The Political Bellman"; "A Musical

Genius" (G. Creed); "A Man of Taste and Feeling" (G. Creed).

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

"Search after Happiness" (two plates); Portrait of O'Connell;

"Buonaparte in his Study"; "State of the Nation"; "Treasure Seeking";

"The Raft"; "O'Connell's Dream"; "London"; "Plot Discovered"; "Death of

the Giraffe" (a series of plates); "Rival Actresses"; "Moments of

Reflection"; "Ennui"; "The Ear-wig"; "The Lost Key"; "The Man Wot

Steers"; "Raising the Wind"; "Catholic State Wagon."

"The Looking Glass" (a series of political and other caricatures, in

which he was assisted by William Heath). 1830-1836.

"Sycophant Saints and Sabbath Sinners." Circa 1832.

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

Volume." 1836.

"The Omnibus" (a series of humorous etchings on copper); and "The

Heiress" (six plates, each consisting of about five subjects).

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

1831-1836.

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

"The Extraordinary Black Book" (an exposition of the incomes of the

aristocracy, Church, civil list, list of sinecurists, etc.), one

caricature plate. 1831.

"The Comic Magazine." 1831-1834.

"Maxims and Hints for an Angler" (twelve beautifully-finished drawings

on stone).

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

movement).

"New Readings by Old Authors" (a small lithographic series comprising

upwards of three hundred plates, the subjects being suggested by

readings in Shakespeare, Schiller's "William Tell," and Byron's

"Giaour.")

Several hundred illustrations for Maddeley, the publisher.

The "Humorous Sketches"; "Hood's Comic Almanack," 1836 (thirteen

woodcuts); "Squib Annual of Poetry, Politics, and Personalities" (twelve

designs); [_with Cruikshank_] "Sayings worth Hearing, and Secrets worth

Knowing"; "Terrific Penny Magazine"; T. K. Hervey's "Book of Christmas,"

1836; the early plates to "Pickwick"; some of the plates to the "Pocket

Magazine" (Robins' series), eleven vols., etc., etc.

APPENDIX III.

_SOME OF THE ILLUSTRATED WORK OF JOHN LEECH._

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

1837. "Jack Brag," by Theodore Hook.

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

Plates and cuts.

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

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

plates.

[_With Hablot Knight Browne and another._] "The London Magazine,

Charivari, and Courrier des Dames."

"Bentley's Miscellany," 1840 to 1849, containing etchings to the

"Ingoldsby Legends," "Stanley Thorn," "Richard Savage," "Adventures of

Mr. Ledbury," "Fortunes of the Scattergood Family," "Marchioness of

Brinvilliers," "Brian O'Linn," etc., etc.

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

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

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

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

George Daniel. 1842.

"New Monthly Magazine," 1842 to 1844.

"Hood's Comic Annual."

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

woodcuts.

"Jack the Giant-Killer."

"The Illuminated Magazine," 1843 to 1845.

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

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

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

1843-4.

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

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

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

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

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

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

Giles and St. James."

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

frontispiece.

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

forty-five illustrations.

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

1847. "The Comic History of England," by Gilbert a Beckett, coloured

etchings and numerous designs on wood.

1848. "The Life and Adventures of Oliver Goldsmith," by John Forster

[_with another_].

"The Rising Generation," twelve large, tinted lithographs, issued from

the _Punch_ office.

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

etchings.

[_With John Tenniel and others._] "The Haunted Man and the Ghost's

Bargain," by Charles Dickens. 1847-8.

[_With Richard Doyle and Alfred Crowquill._] "Bon Gaultier's Book of

Ballads," by Theodore Martin and Professor Aytoun. 1849.

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

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

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

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

"The Comic History of Rome," by Gilbert a Beckett, ten coloured etchings

and numerous designs on wood.

1853. "The Fortunes of Hector O'Halloran and his man Mark Antony Toole,"

by W. H. Maxwell, etchings.

"Mr. Sponge's Sporting Tour," by R. W. Surtees, twelve coloured etchings

and numerous designs on wood.

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

"Handley Cross; or, Mr. Jorrock's Jaunts," by R. W. Surtees, coloured

etchings and numerous designs on wood.

1856. "The Paragreens."

1857. "Merry Pictures," by the Comic Hands of Phiz, Leech, Kenny

Meadows, Gavarni, and others.

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

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

1858. "Encyclopaedia of Rural Sports."

"Ask Mamma; or, the Richest Commoner in England," by R. W. Surtees,

coloured etchings and numerous designs on wood.

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

"A Little Tour in Ireland," by the Rev. S. Reynolds Hole, coloured

folding frontispiece and designs on wood.

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

"Soapey Sponge" (sporting).

"Paul Prendergast."

"Once a Week," 1859 to 1864.

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

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

designs on wood.

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

1861.

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

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

1864.

"The Follies of the Year," twenty-one coloured etchings from _Punch's_

"Pocket Books," with descriptive letterpress by Shirley Brooks.

"Mr. Facey Romford's Hounds," by R. W. Surtees, coloured etchings and

designs on wood (finished by "Phiz").

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

Dickens. 1845-6.

_Reprint._

"Fly Leaves," lithographs.

"Sketches of Life and Character taken at the Police Court, Bow Street,"

by George Hodder.

APPENDIX IV.

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

"Ups and Downs," 1823; "Paternal Pride," 1825; "Despondency and

Jealousy" (with George Cruikshank), and many others, in 1825; "Der

Freyschutz Travestied," "Alfred Crowquill's Sketch-Book," "Absurdities

in Prose and Verse," 1827; Goethe's "Faust," 1834; six plates of

"Pickwickian Sketches," Alfred Bunn's "Vauxhall Papers," 1841; designs

on wood for "Sea Pie," an _omnium gatherum_ containing also plates after

David Cox, Pyne, Stanfield, and Vickers, 1842; "Punch" (vols. ii. to

iv.); plates and numerous designs on wood for "Bentley's Miscellany,"

many original designs to "Doctor Syntax's Tour in Search of the

Picturesque," 1844; "Comic Arithmetic" (forty-seven humorous vignettes),

1844; "Woman's Love," 1846; "Wanderings of a Pen and Pencil," 1846; "A

Good-natured Hint about California," 1849; "The Excitement" (2 plates),

1849; 120 designs on wood for the "Pictorial Grammar;" designs on wood

for the "Pictorial Arithmetic;" "Gold," 1850; "A Bundle of Crowquills

Dropped by Alfred Crowquill," 1854; "Fun," 1854; "Griffel

Swillendrunken," 1856; "Aunt Mavor's Nursery Tales," 1856; "Little

Pilgrim," 1856; "Little Plays for Little Actors," 1856; "Fairy Tales,"

1857; "Merry Pictures by the Comic Hands of 'Phiz,'" etc. (Kent & Co.),

1857; "The Book of Ballads," by Bon Gaultier (with Doyle and Leech),

1857; "A New Story Book," 1858; "Fairy Tales," by Cuthbert Bede, 1858;

"Baron Munchausen" (coloured plates), 1858; "Tyll Owlglass" (a similar

book), 1859; "Honesty and Cunning," 1859; "Kindness and Cruelty," 1859;

"The Red Cap," 1859; "Paul Prendergast," 1859; "Strange Surprising

Adventures of the Venerable Gooros Simple," 1861; "Fairy Footsteps,"

1861; Chambers' "Book of Days;" G. W. Reynolds' "Pickwick Abroad" (now

scarce); "The Boys and the Giant," 1870; "The Cunning Fox," 1870; "Dick

Doolittle," 1870; "Little Tiny's Picture Book," 1871; "Guide to the

Watering Places" (views and comic plates); "Comic Eton Grammar" (with

Leech); "Fairy Footsteps; or, Lessons from Legends" (100 designs on

wood, with Kenny Meadows); Henry Cockton's "Sisters; or, England and

France."

APPENDIX V.

_SOME WORKS ILLUSTRATED BY HABLOT KNIGHT BROWNE._

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

"Posthumous Papers of the Pickwick Club," forty-three plates by Seymour

and "Phiz." 1836-37.

_The following are also to be met with._

"Posthumous Papers of the Pickwick Club," with the Seymour and "Phiz"

plates, the two suppressed plates of "Buss," and the extra series of

thirty plates by Onwhyn. 1837.

_The same_, with the forty plates by Seymour and "Phiz," the two

suppressed plates of Buss, and twenty-three plates by "Sam Weller" and

Onwhyn.

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

plates, 1837.

James Grant's "Sketches in London," twenty-four humorous illustrations

on steel by "Phiz" and others, Orr, 1838. Another edition in 1840.

"A Paper of Tobacco: a Treatise on Smoking, with Anecdotes, Mems on

Pipes, Tobacco-boxes, and Snuff." By Joseph Fume, Copper plates and

picture boards. 1839.

"Life and Adventures of Nicholas Nickleby." 1839.

_The same_, with the plates by "Phiz," and an extra series of plates by

Onwhyn and "Peter Palette." 1839.

_The same_, with the forty plates by "Phiz," and a set of forty plates

by "Peter Palette" added.

"New Sporting Magazine." 1839.

Charles Lever's "Harry Lorrequer." 1839. (A pirated edition was

published at Philadelphia, 1840.)

"London Magazine, Charivari, and Courrier des Dames" (with Leech and

"Gillray, Junr."). 1840.

"Master Humphrey's Clock," "Old Curiosity Shop," and "Barnaby Rudge,"

designs on wood, with Cattermole. 3 vols. 1840-41.

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

1841.

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

1841.

"Peter Priggins, the College Scout," 3 vols. 1841 (made its first

appearance without illustrations in the _New Monthly Magazine_).

"The Pic-nic Papers," by Various Hands, edited by Charles Dickens,

plates by Cruikshank, "Phiz," and Hamerton. 3 vols. 1841.

W. H. Maxwell's "Rambling Recollections of a Soldier of Fortune,"

woodcuts by "Phiz" and others. Dublin, 1842.

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

Carleton's "Traits and Stories of the Irish Peasantry" (both series),

steel plates by "Phiz," Sir J. Gilbert, Franklin, etc., and woodcuts. 2

vols. Dublin, 1843-44.

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

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

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

"The Illuminated Magazine" [_with Meadows, Sargent, Gilbert, Harvey,

etc._]. 1845.

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

1845.

"Tales of the Trains; some Chapters of Railroad Romance," by Tilbury

Tramp (_i.e._ Charles Lever). Orr, 1845.

"Nuts and Nutcrackers." 1845.

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

"Fiddle-Faddle's Sentimental Tour in Search of the Amusing, Picturesque,

and Agreeable." 1845.

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

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

1846.

"The Commissioner; or, De Lunatico Inquirendo," twenty-eight steel

plates. Dublin, 1846.

"A Medical, Moral, and Christian Dissertion of Teetotalism," by

Democritus. 1846.

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

"The Fortunes of Colonel Torlogh O'Brien: a Tale of the Wars of King

James." Dublin, 1847.

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

1847.

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

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

Twelve full-length portraits illustrating "Dombey and Son," designed and

etched by "Phiz." (Sometimes bound up with the book.) 1848.

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

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

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

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

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

"The Illustrated Byron," two hundred woodcuts after Kenny Meadows,

Birket Foster, Phiz, and Janet. _Circa_ 1850.

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

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

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

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

Horace Mayhew's "Letters Left at the Pastrycook's: being the

Correspondence of Kitty Clover," cuts. 1853.

W. Harrison Ainsworth's "Crichton."

"Christmas Day, and How it was Spent by four Persons in the House of

Fograss, Fograss, Mowton, and Snorton, Bankers," by C. Le Ros. Woodcuts.

1854.

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

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

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

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

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

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

Clitheroe," 1857-58.

Charles Lever's "Davenport Dunn." 1859.

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

Charles Dickens's "Tale of Two Cities," sixteen etchings; the last work

he executed for that author.

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

1860.

"Twigs for Nests; or, Notes on Nursery Nurture," illustrations in

graphotype by H. K. Browne and others, 1860.

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

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

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

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

"Ballads and Songs of Brittany," by Tom Taylor, translated from the

"Barsaz-Breiz," illustrations by Tenniel, Millais, H. K. Browne, and

others. 1865.

Anthony Trollope's "Can You Forgive Her?" (forty plates by Phiz and

Marcus Stone.) 1866.

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

_And the following._

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

"The Works of Shakespeare," revised from the original text by Samuel

Phelps. 2 vols. Numerous coloured plates.

"Wits and Beaux of Society," by Grace and Philip Wharton (Mrs. K. and J.

C. Thomson); plates by Brown and Godwin.

"Memoirs of an Umbrella," by G. G. H. Rodwell, sixty-eight engravings by

Landells from designs by Phiz.

"Phiz's Sketches of the Seaside and the Country," twenty-eight large

plates, tinted mountings; oblong folio.

Smollett's "Adventures of Roderick Random."

Charles Lever's "Con Creggan."

"H. B.'s Schoolboy Days."

"Illustrations of the Five Senses."

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

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

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

See also the "Memorial Edition" of Dickens's whole works, with several

hundred illustrations by George Cruikshank, H. K. Browne, and others,

printed on Chinese paper.

_And in the following serials_.

"New Monthly Magazine"; early volumes of "Once a Week"; "Tinsley's

Magazine"; "London Society"; "St. James's Magazine"; "Illustrated

Gazette"; "Sporting Times"; "Judy"; etc.

INDEX.

"A Bazaar," 145.

A Beckett, Gilbert, 223.

Aberdeen, Lord, 303, 395.

Abinger, Lord, 252.

Aboukir, Battle of, 13.

Achilles, Statue of, 81, 161.

"Achitophel," 159.

"A Constitutional Plum Pudding," 298.

Actors, their position in France, 386.

"A Day at Biarritz," 317.

"Adelaide Mill, The," 213.

Adelphi Theatre, 110.

"A Discussion Forum," 310.

Adulteration of Tea, 152.

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

"A Fine Old English Gentleman," 251.

"A Great Subject," etc., 249.

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

"A Hint to Duellists," 248.

Ainsworth, Harrison, 194, 198, 199.

Ainsworth's "Auriol," 349.

"Crichton," 344.

Albert, Prince, 294.

Alexander, The Emperor, 133, 139.

"Alice in Wonderland," 400.

"All My Eye," 97.

Allied Sovereigns. Visit of the, 133.

Alliteration, Graphic, 177.

Almack's, Lady patronesses of, 213.

Althorp, Lord, 269.

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

_America_.

Causes of Difference between her and England in 1812, 41.

England offers to Revoke Orders in Council, 42.

Her anxiety to fix a Quarrel on England, 42, 43.

Desire of the Americans to Invade Canada, 42.

Invasion of Canada, 43.

Defeat and Surrender of the American General Hull, 43.

Naval Successes of the Americans, 43.

Americans driven out of Canada, 45.

English assume the Offensive, 45.

Burning of Washington, 46.

Alexandria placed under Contribution, 46.

Capture of British Naval Force, 48.

Retreat of Prevost, 48.

Attack on New Orleans, 48.

Amiens, Peace of, 14.

"A Morning Call," 285.

"A Musical Genius," 209.

"Anstey's New Bath Guide," 176.

"A Paper of Tobacco," 340.

"A Patriot Luminary," etc., 151.

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

"A Prospecte of Exeter Hall," 385.

"A Race for the Westminster Stakes," 251.

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

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

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

Arthur a Bradley, 162.

"Arthur O'Leary," 200.

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

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

"A Shot from Buckingham to Bedford," 97.

"Assisting, Resisting, and Desisting," 218.

"A Student of the Old Masters," 393.

"At a Concert," 220.

"Auld Lang Syne," 247.

Authors and Artists, Quarrels between, 233.

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

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

Ball, Hughes (see "_Hughes Ball_.")

"Bank Restriction Note," 152.

Barossa, Battle of, 21.

Bath, Queen Charlotte at, 57.

Battier, Mr., 100, 163.

Baylen, Battle of, 20.

Beaconsfield, Lord, 283.

"Beau Clerk for a Banking Concern," 106.

"Belle Alliance," etc., 154.

Bellingham, John, 27.

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

Bennett, C. H., 371-375.

Benningsen, General, 22.

"Bentley's Miscellany," 284, 290.

Bergami, Bartolomeo, 71, 150.

Berkeley, Colonel, 101, 102, 118.

Berlin Decree, 18.

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

Betty, Master, 28.

"Bill of Pains and Penalties," 149.

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

Black-mail, 105.

Blandford, Marquis of, 235.

"Bleak House," 347.

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

Bloated Men of the Last Century, 2.

"Bombardment Extraordinary," 240.

Bonaparte, Napoleon (see "_Napoleon_").

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

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

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

"Boney the Second," 21.

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

"Bonnie Willie," 161.

"Book of Christmas," 220.

"Book of Days," 369.

Booth, Lucius Junius, 54.

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

"Bottle, The," 201.

"Braintrees, The," 171.

Brereton, Colonel, 223 (note).

Bright, John, 398.

Brighton Pavilion, 164.

"Bringing up our Bill," 243.

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

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

"British Spread Eagle," 134.

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

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

Twitcher_").

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

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

Buckingham, Duke of (see "_Duel_").

Buckingham, Marquis of, 27.

Bunbury, H. W., 3, 84.

"Bunsby," 342.

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

"Burking Old Mrs. Constitution," 83.

Busby, Dr., 35.

Buss, R. W., 363-366.

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

Byron, Lord, 164.

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

Canada, Invasion of (see "_America_").

_Caricature._

Dr. Johnson's Definition, 1.

Francis Grose's Definition, 1.

Modern Meaning, 2.

Causes of its Decay in England, 2.

Period of its Decline, 83.

Injurious Effect of Wood-Engraving on, 5.

Has little Concern with Justice, 25, 26.

Caricaturist, Peculiarity of his Wares, 90.

Caricaturists and Critics, 9.

Caricaturists, French, 8.

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

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

Carpenter, Mr., 39.

Castlereagh, Lord, 149.

Catalani, Madame, 102.

Catholic Association, The, 106.

Catholic Emancipation (see "_Catholic Relief_").

Catholic Relief Bill, 83, 106, 248.

Cawnpore Massacre, 398.

Champ de Mars, 140.

Changes in Political Opinion, 251.

Charles I., Discovery of his Remains, 132.

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

Charlotte, Queen, 56, 153.

Chobham, Camp at, 303.

"Chronicles of Clovernook," 362.

Churchill, Charles, 7.

Cider Cellar, 87.

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

"Civic Louse in the State Bed," 102.

Clarke, Mrs., 30, 32, 33.

"Clement Lorymer," 205.

Coates (see "_Romeo Coates_").

Cobbett, William, 235 (_note_).

Cobden, Richard, 383.

Cockton, Henry, 361.

"Coke upon Albemarle," 97.

Colburn's "Kalendar of Amusements," 122.

"Collegians at their Exercises," 95.

"Colonel Fitz-Bastard," 103.

"Comic Almanack," 177, 179.

Comic Journalism in 1831, 223.

"Comic Magazine, The," 229.

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

"Comic History of England," 287.

"Comic History of Rome," 288.

Commercial Distress of 1825-6, 81.

"Commons _versus_ the Crown of Martyrdom," 100.

"Comparative Anatomy," 152.

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

Connyngham, Marchioness of, 118, 134, 164.

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

"Corinthian Auctioneer," 102.

"Corinthians," Sham, 93.

Corn Laws, 135.

"Corsican Bloodhound beset by the Bears," 22.

"Corsican's Last Trip," 142.

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

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

Cremorne, Aristocratic fete at, 311.

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

Crimean War, 304, 398.

"Crithannah's Original Fables," 122.

Critics and Caricaturists, 9.

Croker, John Wilson, 245 (_note_).

Crowquill, Alfred (see "_Forrester_.")

Cruikshank, George, 107, 125-207, 281 (_note_), 281, and _note_.

Mistakes of those who have written on him, 4.

Curious Criticism on, 125.

Why his Caricatures possess so much interest, 127.

Quarrel with Dickens, 192.

" " Bentley, 194.

" " Ainsworth, 198.

Final Leap in the Dark, 201.

Declines to draw for _Punch_, 201.

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

Cruikshank, The Brothers, 89.

Cruikshankian Feet, 170.

" Steed, The, 169.

" Trees, 170.

" Women, 168.

"Cruikshankiana," 107.

"Cruikshank's Comic Album," 121.

"Cruikshank's Fairy Library," 205.

"Cruising on Land," etc., 95.

Cumberland, Duke of 100, 241, 242.

Curtis, Sir William, 141, 159.

"Cut at the City Cauliflower," 102.

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

"Dandies at Tea," 92.

"Dandies Diving," 93.

"Dandies having a Treat," 93.

"Dandies in France," 154.

"Dandies on their Hobbies," 94.

"Dandies, Parisian," 91.

"Dandy Cock in Stays," 93.

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

"Dandy Henpecked, The," 93.

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

"Dandy Shoemaker in a Fright," 93.

"Dandy Sick," 94.

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

"Dandyess, A," 94.

D'Angouleme, Duc, 162.

Darwin (see "_Origin of Species_").

"Deaf Postillion," 169.

"Death of the Property Tax," 164.

"Death of Sikes," 185.

Deesses de la Revolution, 25.

"Defenders of the Faith," 106.

"Delivering a Prophetess," 40.

Depression in Trade in 1819, 60.

"Descent of the Great Bear," 82.

Devils, 182.

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

Dighton, Robert, 27, 84.

"Diogenes," 371.

Dissenting Ministers, Proposal to amend their qualifications, 130.

"Doctors Differ," 36.

"Dog and the Shadow," 251.

"Doings in London," 120.

"Dombey and Son," 345.

Dominie Sampson, 176.

Dore, Gustave, 7, 9.

Double Bass, 132.

Doyle, John (see "HB").

Doyle, Richard, 379, 381-394.

Draconian Laws, 152.

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

"Drunkard's Children, The," 202.

Drury Lane Theatre, 34.

Duel between the Dukes of Buckingham and Bedford, 81, 97.

Between the Duke of Wellington and the Earl of Winchelsea, 248.

Between Sir Francis Burdett and Mr. Paull, 249.

"Duel that did not take place," 262.

"Duelling," 106.

Dumbiedikes, 176.

"Dying Clown, The," 233.

East Retford Bill, 236.

Ecclesiastical Titles Bill, 386.

"Economical Humbug of 1816," 144.

Egan, Pierce, 85, 113, 120.

Egypt, French driven out of, 13.

Eldon, Lord, 70.

Elgin Marbles, 145.

Ellenborough, Lord, 66, 67, 70.

Elliston, Life and Enterprises of, 205.

"England's Hope Departing," 151.

English Graphic Satire, Change in, 4.

English hostility to Napoleon, 16.

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

English Parliamentary Representation in 1830, 235.

"English Spy, The," 116.

E. O! 161.

"Equipt for a Northern Visit," 161.

"Etching Moralized," 9.

Eugenie, The Empress, 317.

Evans, Sir de Lacy, 253.

"Examination of a Young Surgeon," 130.

"Exile of Louisiana," 197.

"Fagin in the Condemned Cell," 185.

Fairy Tales, Origin of, 205.

"Fall of Icarus," 264.

"Fall of the Leaf," 177.

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

"Fashionables of 1817," 151.

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

Fechter, 330.

"Female Lancers," etc., 94.

Ferdinand VII., 98.

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

"Fine Lady, or The Incomparable," 152.

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

"Fitzalleyne of Berkeley," 118.

"Flat Catcher and the Rat Catcher," 106.

Foley, Mr., 39.

"Following the Leader," 250.

"Football," 107.

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

Foote, Miss, 81, 101, 118.

Foote v. Hayne, 118.

"Foreign Affairs," 285.

"Foreign Rivals for British Patronage," 105.

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

"Four Mr. Prices," 164.

France, Evacuation of, 55.

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

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

"Frank Fairleigh," 205.

Freewill Offerings of the Faithful, 39.

"French Cock and the Roman Eagle," 298.

French Colonels and the _Moniteur_, 310.

French driven out of Egypt, 13.

French interposition in Spain, 98.

French light wines, 313.

French military imbecility, 307, 309.

French Revolution, End of, 17.

French Revolution of 1830, 213.

French Royalist Caricatures on Napoleon, 24.

"Friends in Need," 143.

"Gambols on the River Thames," 135.

Gas, Introduction of, 29.

"Gavarni in London," 369 (_note_).

Genius, 187.

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

George III., 27, 214.

George IV., 52, 72, 79, 95, 111, 117, 143, 144 (_note_), 153, 155, 159,

164, 210 (and see "_Caroline of Brunswick_").

"General Frost Shaving Boney," 22.

"General Janvier," 306.

"German Popular Stories," 180.

"Gheber Worshipping the Rising Sun," 261.

"Ghosts," 181.

"Giant Grumbo," 154.

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

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

Gladstone, Mr., 398.

"Going it by Steam," 209.

"Going to Hobby Fair," 95.

"Golden Foot-Ball," 99.

"Gone!" 178.

"Good Effects of Carbonic Gas," 29.

Government Spies, 53.

Grafton, Duke of, 27.

Graham, Sir James, 252, 295.

"Grand Entrance to Bamboozlem," 80.

Graphic Alliteration, 177.

"Great Unknown lately discovered in Ireland," 104.

Greek War of Independence, 81.

Green Bag, Opening of the, 73.

"Greenwich Hospital," 171, 175.

Grey, Earl, 241, 244.

Habeas Corpus Act, Suspension of the, 52.

Hamilton, Lady Anne, 73.

"Hare Presumptuous," 106.

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

Haydon, B. R., 173.

Haynau, General, 298.

Hayne (see "_Pea-Green Hayne_").

HB, 5, 235-276.

Heath, H., 84.

Heath, William, 84, 104, 238.

Hervieu, A., 194.

"Hint to the Blind and Foolish," 162.

Hobbies, The, 59.

"Hobby-Horse Dealer," 154.

Hogarth, William, not a Caricaturist, 6.

Absurdity of comparing him with Modern Comic Artists, 6.

Holy Alliance, The, 98.

"Homburg Waltz," 58.

"Horse Chancellor obtaining a Verdict," 159.

"Horse Marine and his Trumpeter," 91.

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

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

How to set up as a Prophet, 39.

Hughes Ball, 99.

"I'll be your Second," 241.

"Illuminated Magazine," 286.

_Incroyables_, The, 91.

"Impostor, or Obstetric Dispute," 134.

Indian Mutinies, 396.

Informers of 1817, 148.

"Ingoldsby Legends," 289, 400.

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

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

"Introduction to the Gout," 152.

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

Irish Coercion Bill of 1833, 269, 270.

"Irish Decency," 154.

Irish Disaffection in 1833, 266.

Irish _Festa_, 178.

"Jack o' Lantern," 181.

"Jack Sheppard," 172, 199, 343.

"Je vous n'entends pas," 122.

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

Jerrold, Douglas, 387.

Jim Crow, 252.

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

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

"John Bull Done Over," 60.

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

"John Bull in Clover," 60.

"John Bull _versus_ Pope Bull," 106.

"Jonathan Wyld discovering Darrell," 172.

"Johnny Bull and his Forged Notes," 154.

"John's Dream," 143.

Josephine, The Empress, 3, 20, 25.

Judge, Mr., 102.

Kaleidoscope, The, 58.

Kean, Edmund, 54, 103.

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

Kenny Meadows, 355-363.

Kenyon, Lord, 241.

"Key to the Investigation," 67.

"King at Home, The," 117.

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

"La Belle Assemblee," 151.

Labedoyere, Colonel, 138.

"Ladies' Accelerator," 95.

La Diligence, 159.

La Douane, 159.

"Lancashire Witches," 200.

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

Lane, Theodore, 84-88.

"L'apres-diner des Anglais," 24.

"Last Cab-driver," 176.

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

Leech, John, 233, 277-335, 337, 407-409.

"Sketches in Oil," 315.

Leigh, Percival, 282.

Leipzig, Battle of, 24.

Lemon, Mark, 201.

Leopold of Saxe-Coburg, Prince, 145.

_Les Graces_, 151.

Lever, Charles, 200, 352, 375.

"Lewis Arundel," 337.

"Libra--Striking the Balance," 177.

"Life of an Actor," 85.

"Life of Sir John Falstaff," 205.

"Life in London," 109.

Egan's Share of the Work, 113.

Lines and Dots, 151.

Literary Black-Mail, 115.

"Little Boney gone to Pot," 132.

"Lolly Pop," etc., 162.

"London Barrow Woman, The," 169.

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

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

Louis Philippe, 297, 383.

Louis XVIII., 98, 143, 162.

"Love, Law, and Physic," 154.

"Loyalist Magazine," 131.

McConnell, 372.

Maddison, President, 46.

"Man of Taste and Feeling," 209.

"Manners and Customs of ye Englishe," 385.

"Manslaughter Men, The," 158.

"March to Finchley, The," 7.

Marriage Act, The, 81.

"Martin Chuzzlewit," 341, 344.

Massena, 21.

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

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

"Mat de Cocagne," 143.

"Matheworama," 106.

"Mauger Sharpening his Axe," 186.

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

Mayhew, H., 201.

Meadows (see "_Kenny_").

Medical Profession, Satire on, 35.

"Meditations Amongst the Tombs," 132.

Melbourne, Lord, 252.

Melville, Lord, 28.

"Mer de Glace," 159.

Mercandotti, Madamoiselle, 100.

"Meteor, The," 128.

Methodism, Spread of, 129.

Metternich, Prince, 150.

Milan Commission, 96.

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

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

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

"Miser's Daughter," 173, 199.

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

Mob, A Cowardly, 247.

"Moments of Prattle," etc., 102.

Moray Minstrels, 374.

"More Plots!!!" 53.

"Morning after Marriage," 97.

"Morning Journal," 240.

Moscow, Retreat from, 22.

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

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

"Murder of Sir Rowland Trenchard," 185.

"Mysterious Fair One," 95.

"Nap nearly Nabb'd," 22.

_Napoleon Bonaparte_.

His Policy towards England, 13-18.

Proclaimed Emperor, 17.

Intention to invade England, 17.

Lampooned by English Caricaturists, 19, 24, 26.

Dislike to the Revolutionists, 26.

His Star begins to Wane, 22.

Retreat from Moscow, 22.

Narrowly escapes Capture, 22.

Leaves his Troops in Russia, 22.

At Elba, 132.

Return from Elba till his Fall, 137-142.

French Royalist Caricatures on, 24.

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

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

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

Navarino, Battle of, 82.

"Nest in Danger," 82.

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

"Newcomes, The," 377, 393.

"New Irish Jaunting Car," 95.

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

"New Readings of Old Authors," 221.

Newspaper Stamp Duty, 255.

Newspapers, Cheap, Curious Arguments against, 256.

Ney, Marshall, 139.

"Nicholas Nickleby," 340.

Nicholas, The Emperor, 303, 306, 395.

"Night Mayor," 146.

Nile (see "_Britannia_").

"Non Mi Recordo," 128.

"Nosing the Nob at Ramsgate," 159.

"Notice to Correspondents," 226.

"Novels by Eminent Hands," 375.

"Nun of Arronca," 254.

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

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

"Old Bumblehead the 18th," 162.

"Old Curiosity Shop," 341, 345.

"Old St. Paul's," 199.

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

"Oliver Twist," 192.

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

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

"Oppidans' Museum, The," 117.

Origin of Species, 371.

Orsini Plot, 311.

"Ostend Packet in a Squall," 163.

"Our tough old Ship," 154.

Oxenford, John, 201.

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

"Palais Royal," 152.

Papal Aggression, 299, 386.

"Parisian Luxury," 163.

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

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

"Paying Off a Jew Pedlar," 175.

Pea-green Hayne, 101.

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

"Pedigree of Corporal Violet," 143.

Peel, Sir Robert, 272, 295, 296.

"Peel's Dirty Little Boy," 296.

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

"Peep at the Pump Room," 57.

Pellegrini, Carlo, 5.

"Peter Schlemihl," 174.

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

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

Pius IX., 298.

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

"Point of Honour, The," 171.

"Points of Humour," 119.

"Points of Misery," 119.

"Polish Diet with French Dessert," 22.

"Political Champion turned Resurrection Man," 95.

"Political Fair, A," 19.

"Political Shaver," 106.

Poole, John, 230.

Popple _v_. Stockdale, 106.

Popular Discontent of 1816, 51.

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

"Portraits of the English," 354.

"Preachee and Floggee Too," 153.

"Premier's Fix," 296.

"Premium, Par, and Discount," 162.

"Preparing for a Duel," 163.

"Preparing for the Match," 145.

"Preparing for the Witnesses," 96.

"Presenting a Bill of Indemnification," 83.

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

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

"Prisoners of War," 269.

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

"Punch," 287, 383.

Rivals of, 367.

Purchase System, 305.

"Put Out," 297.

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

"Randolph and Hilda dancing at Ranelagh," 173.

Rawkins, 279.

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

"Redgauntlet," 185.

Reform Bills of 1831-32, 242-245.

Regent (see "_George IV._").

"Religion a la Mode," 311.

Religious credulity of English people, 37.

"Results of a Northern Excursion," 161.

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

"Revolution at Madame Tussaud's," 178.

Rice, the American Comedian, 251.

"Rival Newsmongers," 258.

Rival Richards, 55.

Robinson, Mr. Frederick, 135.

Robson, Thomas Frederick, 325.

"Roland Cashel," 350.

Romeo Coates, 49.

Roscius, The Young, 28.

"Rose Maylie and Oliver," 192.

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

"R-y-l Condescension," 149.

"Royal Extinguisher," 159.

"Royal Laundress," 143.

Royal Levees, 308.

"Royal Nuptials," 145.

"Royal Red Bengal Tiger," 154.

"Royal Rushlight," 156.

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

398.

Russia and Turkey, 82, 395.

"Russian Bear's Greece," 82.

"Russian Condescension," 133.

"Russian Dandy at Home," 56.

"Sailors Carousing," 175.

"Sailors' Description," etc., 162.

"Saint Shela," 162.

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

Sandford and Merton, 121.

"Satirist, or Monthly Meteor," 131.

"Scene after the Battle," 132.

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

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

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

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

"Scotch Fiddle," 161.

Scott, Sir Walter, 105.

"Scourge, The," 21, 128.

"Sealing up the People," 38.

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

"Sergeant introducing his Dutch Wife," 169.

Seurat, Claude Ambroise, 104.

Seymour, Robert, 208-234, 405.

"Seymour's Humorous Sketches," 218.

"Shadows," 372.

Shannon and Chesapeake, 44.

Shiel, Mr., 269.

"Shortshanks" (Robert Seymour), 208.

"Showing Off," etc., 162.

"Sick of the Property Tax," 143.

"Sikes and the Dog," 172.

Silver Ball, 102.

"Simon Renard and Winwike," 172.

"Simpkin Dancing," 175.

Skeleton, The Living, 104.

"Sketches by Boz," 172, 176.

Smith, Albert, 287-289.

Smithfield, 297.

"Smoke Jack the Alarmist," 154.

"Snuffing and Smoking," 220.

"Snuffing out Boney," 133.

Southcott, Joanna, 36-40, 134.

"Spa Fields Orator Hunting for Popularity," 151.

Spa Fields Riot, 51.

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

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

"Spanish Mule and a French Jackass," 162.

Speculation Mania of 1825, 163.

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

"Sprig of Shelalegh," 171.

St. Albans, Borough of, 301.

St. Dunstan, 183.

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

St. John Long the Quack, 214-217.

"St. Swithin's Chapel," 168.

Stanley, Lord, 252.

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

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

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

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

Sue's "Orphan," 122.

Sullivan, Arthur, 374.

"Sunday under Three Heads," 342.

Surgeon, An Eccentric, 279.

Surtees, R. W., 320.

Sussex, Duke of, 249.

"T Trade in Hot Water," 152.

"Table Book," 201.

"Tables Turned," 162.

"Taking an Airing in Hyde Park," 247.

Tallien, Madame, 25 (and _note_).

"Taurus, a Literary Bull," 177.

"Tea Just Over," 27.

Tenniel, John, 394-400.

Tenth Hussars, 81, 100.

Terry, Kate, 375.

Thackeray, W. M., 92, 201, 285, 316, 318, 387.

As a Book-illustrator, 375-380.

"Theatrical Fun Dinner," 378.

"Three Courses and a Dessert," 171.

"Through the Looking-glass," 400.

Toleration Acts, Motion to amend them, 129.

Tom and Jerry, 110.

Tom Thumb, 173.

"Tower of London," 172.

Tozer, Mr., 39.

Tract Droppers, 112.

Transit, Robert (Robert Cruikshank), 117.

Treadmill, 97.

Trenton's Porter, 2.

"Triumph of Cupid," 182.

Two Elves, The, 180.

"Urgent Private Affairs," 307.

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

"Vanity Fair," 92, 378.

"Vaux and the Grapes," 265.

"Venus de Medici," 159.

Victoria, Queen, 61, 275.

"View in Cumberland," 100.

"Virginians," 377.

"Vis-a-Vis," 151.

"Visit to Vesuvius," etc., 159.

Vitoria, Battle of, 24, 132.

"Voila t'on Mort," 154.

"Waiting on the Ladies," 164.

"Waltzing," 107.

Wardle, Colonel, 31.

"Washing Boney's Court Dresses," 143.

Washington, Burning of (see "_America_.")

Watts Phillips, 372.

Waverley Novels, 104, 176.

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

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

Wilkes, 7.

William IV., 245, 261.

Williams, C., 84.

"Windsor Castle," 199.

"Witches' Frolic," 181.

"Wolves Triumphant," 103.

Wood, Alderman, 73.

Wood Engraving, its injurious effect on Caricature, 5.

Woodward, G. M., 3, 84.

"Worship of Bacchus," 203.

"Wrekin" (Long Acre), 87.

"Xit," 186.

Year 1848, 383.

York, Duke of, 30.

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