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have   multiplied   so   freely   since�察  �in   1859�察   �Once   a   Week;   first   began   to 

attract and train such younger draughtsmen as Sandys�察�Lawless�察�Pinwell�察�

Houghton�察�Morten�察�and Paul Grey�察�some of whose best work in this way 



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has    been    revived    in  the   edition   of   Thornbury's      ;Ballads     and   Songs�察─�

recently     published     by   Chatto    and   Windus。      Ten     years   later  came     the 

;Graphic�察─�offering still wider opportunities to wood´cut art�察�and bringing 

with it a fresh school of artists。         Herkomer�察�Fildes�察�Small�察�Green�察�Barnard�察�

Barnes�察  �Crane�察  �Caldecott�察  �Hopkins�察         �and   others��quos   nunc       perscribere 

longum esthave contributed good work to this popular rival of the older�察�

but still vigorous�察 �Illustrated。;         And now again�察�another promising serial�察�

the    ;Magazine        of   Art�察─  �affords     a   supplementary        field   to   modern 

refinements and younger energies。 

     Not a few  of the artists  named in the preceding paragraph have   also 

earned distinction in separate branches of the pictorial art�察�and specially in 

that of humorous design��a department which has always been so richly 

recruited   in   this   country   that   it   deserves   more   than   a   passing   mention。 

From   the   days   of   Hogarth   onwards   there   has   been   an   almost   unbroken 

series   of   humorous   draughtsmen�察  �who�察  �both   on   wood   and   metal�察  �play   a 

distinguished   part   in   our   illustrated   literature。   Rowlandson�察  �one   of   the 

earliest�察   �was   a  caricaturist    of   inexhaustible     facility�察 �and    an  artist  who 

scarcely did justice to his own powers。 He illustrated several books�察�but he 

is chiefly remembered in this way by his plates to Combe's ;Three Tours 

of    Dr。  Syntax。;      Gillray�察   �his   contemporary�察      �whose     bias   was   political 

rather than social�察�is said to have illustrated ;The Deserted Village; in his 

youth�察  �but   he   is not   famous   as   a   book´illustrator。     Another of   the   early 

men was Bunbury�察�whom ;quality;´loving Mr。 Walpole calls ;the second 

Hogarth�察  �and   first   imitator   who   ever   fully  equalled   his   original   �┌。��察─  �but 

whose prints to ;Tristram Shandy�察─�are nevertheless completely forgotten�察�

while�察�if he be remembered at all�察�it is by the plate of ;The Long Minuet�察─�

and the vulgar ;Directions to Bad Horsemen。;                   With the first years of the 

century�察  �however�察  �appears   the   great   master   of   modern   humorists�察  �whose 

long life ended only a few years since�察 �the veteran George Cruikshank; 

as    his  admirers     were    wont    to   style  him。     He    indeed     may    justly   be 

compared to Hogarth�察�since�察�in tragic power and intensity he occasionally 

comes      nearer    to  him    than    any   artist   of  our   time。     It  is  manifestly 

impossible       to   mention     here    all  the    more    important      efforts   of   this 

indefatigable       worker�察   �from    those    far´away     days    when     he   caricatured 



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;Boney;   and   championed   Queen   Caroline�察  �to   that   final   frontispiece   for 

;The      Rose     and   the    Lily;;designed        and   etched     ��according      to   the 

inscription�� by George Cruikshank�察�age 83�察─�but the plates to the ;Points 

of   Humour�察─  �to   Grimm's   ;Goblins�察─  �to   ;Oliver Twist�察─   �Jack   Sheppard�察─�

Maxwell's       ;Irish    Rebellion�察─     �and   the   ;Table     Book�察─    �are   sufficiently 

favourable   and   varied   specimens   of   his   skill   with   the   needle�察  �while   the 

woodcuts to ;Three Courses and a Dessert�察─�one of which is here given�察�

are equally good examples of his work on the block。                       The ;Triumph of 

Cupid�察─  �which   begins   the   ;Table   Book�察─  �is   an   excellent   instance   of   his 

lavish wealth of fancy�察�and it contains beside�察�onenay more than oneof 

the many portraits of the artist。 He is shown en robe de chambre�察�smoking 

��this was before his regenerate days�。� in front of a blazing fire�察�with a pet 

spaniel on his knee。          In the cloud which curls from his lips is a motley 

procession       of   sailors�察   �sweeps�察    �jockeys�察    �Greenwich        pensioners�察     �Jew 

clothesmen�察  �flunkies�察  �and   others   more   illustrious�察  �chained   to   the   chariot 

wheels of Cupid�察�who�察�preceded by cherubic acolytes and banner´bearers�察�

winds round the top of the picture towards an altar of Hymen on the table。 

When�察  �by   the   aid   of   a   pocket´glass�察  �one   has   mastered   these   swarming 

figures�察�as well as those in the foreground�察�it gradually dawns upon one 

that all the furniture is strangely vitalised。            Masks laugh round the border 

of the tablecloth�察�the markings of the mantelpiece resolve themselves into 

rows of madly´ racing figures�察�the tongs leers in a degage and cavalier way 

at the artist�察�the shovel and poker grin in sympathy�察�there are faces in the 

smoke�察  �in   the   fire�察  �in   the   fireplace��the   very   fender   itself   is   a   ring   of 

fantastic creatures who jubilantly hem in the ashes。                  And it is not only in 

the   grotesque   and   fanciful   that   Cruikshank   excels�察  �he   is   master   of   the 

strange�察  �the   supernatural�察  �and   the   terrible。       In   range   of   character     ��the 

comparison        is  probably     a  hackneyed       one���察  �both    by   his  gifts   and   his 

limitations�察  �he   resembles   Dickens�察  �and   had   he   illustrated   more   of   that 

writer's works the resemblance would probably have been more evident。 

In   ;Oliver   Twist�察─  �for   example�察  �where   Dickens   is   strong�察  �Cruikshank   is 

strong�察�where Dickens is weak�察�he is weak too。                  His Fagin�察�his Bill Sikes�察�

his Bumble�察�and their following�察�are on a level with Dickens's conceptions�察�

his   Monk   and   Rose   Maylie   are   as   poor   as   the   originals。        But   as   the 



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defects     of   Dickens     are   overbalanced       by   his   merits�察   �so  Cruikshank's 

strength is   far in excess   of his weakness。            It  is   not to his   melodramatic 

heroes or wasp´waisted heroines that we must look for his triumphs�察�it is 

to   his   delineations�察  �from   the   moralist's   point   of   view�察  �of   vulgarity   and 

vice��of the ;rank life of towns�察─�with all its squalid tragedy and comedy。 

Here   he     finds   his  strongest    ground�察    �and   possibly�察   �notwithstanding       his 

powers as a comic artist and caricaturist�察�his loftiest claim to recollection。 

     Cruikshank   was   employed   on   two   only   of   Dickens's   books;Oliver 

Twist; and the ;Sketches by Boz。; ��13��                The great majority of them were 

illustrated     by  Hablot     K。   Browne�察    �an   artist  who    followed     the   ill´fated 

Seymour on the ;Pickwick Papers。;                 To ;Phiz�察─�as he is popularly called�察�

we are indebted for our pictorial ideas of Sam Weller�察�Mrs。 Gamp�察�Captain 

Cuttle�察  �and   most   of   the   author's   characters�察  �down   to   the   ;Tale   of   Two 

Cities。;     ;Phiz; also illustrated a great many of Lever's novels�察�for which 

his skill in hunting and other Lever´like scenes especially qualified him。 

     With the   name   of   Richard   Doyle   we   come   to   the   first   of   a group   of 

artists   whose     main    work    was�察   �or  is  still�察 �done   for   the  time´honoured 

miscellany   of   Mr。   Punch。        So   familiar   an   object   is   ;Punch;   upon   our 

tables�察�that one is sometimes apt to forget how unfailing�察�and how good on 

the   whole�察  �is   the   work   we   take   so   complacently   as   a   matter   of   course。 

And of this good work�察�in the earlier days�察�a large proportion was done by 

Mr。   Doyle。      He   is   still   living�察  �although   he   has   long   ceased   to   gladden 

those   sprightly   pages。       But   it   was   to  ;Punch;   that   he   contributed   his 

masterpiece�察      �the  ;Manners      and    Customs      of  ye  Englyshe�察─     �a  series   of 

outlines   illustrating   social   life    in   1849�察  �and   cleverly   commented         by   a 

shadowy ;Mr。 Pips�察─�a sort of fetch or double of the bustling and garrulous 

old Caroline diarist。        In these captivating pictures the life of thirty years 

ago is indeed�察�as the title´page has it�察 �drawn from ye quick。;                   We see the 

Molesworths        and    Cantilupes     of  the   day   p
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隆堋響頼��紗秘慕禰厮宴和肝写偬堋響��
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