George Cruikshank

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Presented to the
LIBRARY of the

UNIVERSITY OF TORONTO

by

Dr. Charles Godfrey

The Popular
Library of Art

The Popular Library of Art

ALBRECHT DURER (37 Illustrations).

By LlNA ECKENSTEIN.

ROSSETTI (53 Illustrations).
By FORD MADOX HUEFFER.

REMBRANDT (61 Illustrations).
By AUGUSTE BREAL.

FRED. WALKER (32 Illustrations and

Photogravure).
By CLEMENTINA BLACK.

MILLET (32 Illustrations).

By ROMAIN ROLLAND.

THE FRENCH IMPRESSIONISTS

(50 Illustrations).
By CAMILLE MAUCLAIR.

LEONARDO DA VINCI (44 Illustrations).
By Dr GEORG GRONAU.

GAINSBOROUGH (55 Illustrations).
By ARTHUR B. CHAMBERLAIN.

BOTTICELLI (37 Illustrations).

By JULIA CARTWRIGHT (Mrs ADV).

RAPHAEL (50 Illustrations).

By JULIA CARTWRIGHT (Mrs ADY).
VELAZQUEZ (51 Illustrations).

By AUGUSTE BREAL.

HOLBEIN (50 Illustrations).
By FORD MADOX HUEFFER.

ENGLISH WATER COLOUR PAINTERS

(42 Illustrations).
By A. J. FINBERG.

WATTEAU (35 Illustrations).
By CAMILLE MAUCLAIR.

THE PRE-RAPHAELITE BROTHERHOOD

(38 Illustrations).
By FORD MADOX HUEFFER. .

PERUGINO (50 Illustrations).
By EDWARD HUTTON.

CRUIKSHANK.

By W. H. CHESSON.

HOGARTH.

By EPWARP GARNETT,

GEORGE CRU1KSHANK FRIGHTENING SOCIETY
From "George Cruikshank's Omnibus," 1842.

GEORGE^
CRUIKSHANK

BY

W. H. CHESSON

ACTHOR OF "NAME THIS CHILD," ETC.

LONDON: DUCKWORTH & CO
XKW YORK E. P. BUTTON & CO.

FEINTED BY

TCBNB0LL AND SPEARS.

EDINBURGH

LIST OF ILLUSTRATIONS IN OKDER
OF DATE

' 13

1815. THE SCALE OF JUSTICE REVERSED . 5

1818. TITLE-PAGE OF "THE WITS' MAGAZINE" 209

1819. JOHNNY BULL AND HIS FORGED NOTES 29
1821 . COMIC COMPOSITES FOR THE SCRAP BOOK 141

1821. TOM GETTING THE BEST OF A CHARLEY

(from e ' Life in London " ) . . 49
1821. NEW READINGS (from " The Humor-
ist") 205

1823. EXCHANGE NO ROBBERY (from " Points

of Humour " ) . . . . 167
1823. PETER SCHLEMIHL WATCHING THE

CLOCK (from " Peter Schlemihl " ) 127
1826. JUVENILE MONSTROSITIES ... 33
1826. THE GOOSE GIRL (from "German

Popular Stories " ) . . . 145
1826. HOPE (from ' ( Phrenological Illustra-
tions") 173

vii

LIST OF ILLUSTRATIONS

DATK SUBJECT PAGE

1827. TITLE-PAGE OF "ILLUSTRATIONS of

TIME " 225

1828. A BRAYING Ass (from " The Divert-

ing History of John Gilpin " .213
1828. FATAL EFFECTS OF TIGHT LACING (from

" Scraps and Sketches ") . . 37
1828. A GENTLEMAN'S REST BROKEN (from

" Scraps and Sketches " ) . . 163
1828. PUNCH THROWING AWAY THE BODY OF

THE SERVANT (from ' ' Punch and

Judy") 131

1830. THE VICAR OF WAKEFIELD PREACHING

TO THE PRISONERS (from " Illustra-
tions to Popular Works " ) . . 193

1831. CRUSOE'S FARMHOUSE AND CRUSOE IN

HIS ISLAND HOME (from ' ' The Life
and Surprising Adventures of
Robinson Crusoe " ) . . 241

1831. ADAMS'S VISIT TO PARSON TRULLIBER

(from " Joseph Andrews " l ) . 189

1833. DON QUIXOTE AND SANCHO RETURNING
HOME (from "The History and
Adventures of the Renowned Don
Quixote " ) 201

1 Date of vol., 1832,
viii

LIST OF ILLUSTRATIONS

DATE SUBJECT PAGE

1833. SOLOMON EAGLE (from " A Journal of

the Plague Year " ) . . . 97

1836. SEPTEMBER — MICHAELMAS DAY (from

" The Comic Almanack/' 1836) . 41

1836. X — XANTIPPE (from <f A Comic

Alphabet") . . . .181

1836. "En, SIRS!" (from "Landscape-
Historical Illustrations of Scot-
land and the Waverley Novels,"
"Waverley") .... 169

1836. " PRO-DI-GI-OUS ! " (from " Landscape-
Historical Illustrations of Scotland
and the Waverley Novels/' " Guy
Mannering") .... 197

1836. TURPIN'S FLIGHT THROUGH EDMONTON

(from "Rookwood") ... 75
1837- THE STREETS, MORNING (from

" Sketches by Boz") . . .101

1837. THE LAST CAB -DRIVER (from

" Sketches by Boz") . . .105

1838. NORNA DESPATCHING THE PROVISIONS

(from " Landscape-Historical Il-
lustrations of Scotland and
the Waverley Novels/' "The

Pirate") 237

ix

LIST OF ILLUSTRATIONS

DATE SUBJECT PACK

1839. THE TURK'S ONLY DAUGHTER AP-
PROACHES LoRDBATEMAN(fromf 'The
Loving Ballad of Lord Bateman " ) 229
1839. JONATHAN WILD SEIZING JACK SHEP-
PARD AT HIS MOTHER'S GRAVE (from
"Jack Sheppard") ... 79

1839. JACK SHEPPARD DRINKING FROM ST

GILES'S BOWL (from "Jack Shep-
pard") 80

1840. THE DEATH WARRANT (from "The

Tower of London " ) . . 83

1841. THE VETERANS (from "Songs, Naval

arid National, of Charles Dibden " ) 245

1842. FRIGHTENING SOCIETY (from " George

Cruikshauk's Omnibus " ) Frontispiece
1842. THE DUEL IN TOTHILL FIELDS (from

" Ainsworth's Magazine," " The

Miser's Daughter " ) . . 87

1842. OVERHEAD AND UNDER FOOT (from

' ' The Comic Almanack " ) . . 53

1842. LEGEND OF ST MEDARD (from "The

Ingoldsby Legends " ) . . . 117

1843. HERNE THE HUNTER APPEARING TO

HENRY VIII. (from "Ainsworth's
Magazine/' " Windsor Castle " ) . 137

X

LIST OF ILLUSTRATIONS

DATE SUBJECT PAGE

1844. THE MARQUIS DE GUISCARD ATTEMPT-

ING TO ASSASSINATE HARLEY (from

te Ainswortlr's Magazine/' " Saint
Jameses") 91

1845. The LION OF THE PARTY (from " George

Cruikshank's Table-Book " ) . . 185
1845. DETAILS FROM HEADS OF THE TABLE
(from " George Cruikshank's
Table-Book") .... 177
1847. AMARANTH CARRIED BY THE BEE'S
MONSTER STEED (from ' ' The Good
Genius that Turned Everything
into Gold " ) . . . .149

1847. "THE CAT DID IT!" (from "The

Greatest Plague in Life ") . . 221

1848. SHOEING THF, DEVIL (from "The True

Legend of St Dunstan ") . . 122

1848. THE DEVIL ABOUT TO SIGN (from " The

True Legend of St Dunstan " ) . 123

1849. MlSS ESKE CARRIED AWAY DURING

HER TRANCE (from "Clement

Lorimer") 109

1853. THE GLASS OF WHISKEY AFTER THE
GOOSE (from "The Glass and the
New Crystal Palace " ) . . . 62
xi

LIST OF ILLUSTRATIONS

DATE SUBJECT PAGE

1853. THE GOOSE AFTER THE WHISKEY

(from ' { The Glass and the New
Crystal Palace") .... 63

1854. WHEN THE ELEPHANT STANDS UPON HIS

HEAD (from (S George Cruikshank's
Magazine ") 217

1854. THE PUMPKIN, ETC., BEING CHANGED
INTO A COACH, ETC., (from " George
Cruikshank's Fairy Library,"
"Cinderella") .... 153

1864. THE OGRE IN THE FORM OF A LION
(from " George Cruikshank's Fairy
Library," " Puss in Boots " ) . 157

1875. MONK READING (from " Peeps at

Life") 249

N.D. ELIZA CRUIKSHANK (from a painting) 113

*a* The dates in the footlines and in this list are
those of the first appearance of the works to which
they refer. In certain cases the reproductions have
been made from good impressions which are not
the earliest of the plates in question.

xn

THE life of George Cruikshank extended from
September 27, 1792, to February 1, 1878, and
the known work of his hand dates from 1799
to 1875. In 1840 Thackeray wrote of him as
of a hero of his boyhood, asking jocundly,
" Did we not forego tarts in order to buy his
Breaking-up or his Fashionable Monstrosities of
the year eighteen hundred and something ? "
In 1863, the year of Thackeray's death,
Cruikshank was asked, by the committee who
exhibited his Worship of Bacchus, to asso-
ciate with that work some of his early draw-
ings in order to prove that he was not his
own grandfather.

For years before he reached the great but
unsensational age at which he died, a sort of
cult was vested in his longevity. Dated plates
—that entitled "The Rose and the Lily"
(1875) offers the last example — imply that his
art figured to him finally as a kind of athleticism.

GEORGE CRUIKSHANK

It was as if, in using his burin or needles, he
was doing a " turn " before sightseers, with
a hired Time innocuously scything on the plat-
form beside him to show him off.

Now that his mortality has been proven
for a quarter of a century, we can coldly ask :
why did he seem so old to himself and the
world ? Others greater than he — Titian,
Watts — have laboured with genius under
a heavier crown of snow than he ; and the
public has applauded their vigour without
a doubt of their identity. The reason is that
they have not been the journalists of their
age. They have not, like Cruikshank,
reflected in their works inventions and
fashions, wars and scandals, jokes and politics,
whence the world has emerged unrecognisably
the same.

It is said that when Cruikshank was eighty-
three, he executed a sword-dance before an
old officer who had mentally buried him. It
was an action characteristic of a nature that
was scarcely more nai've and impulsive at one
time than another, but it was the most
confusing proof of the fact in debate which
he could have offered. It was not of a

GEORGE CRUIKSHANK

numeral that the doubter thought when the
existence of Cruikshank was presented to his
mind's eye. His thought we may elaborate
as follows.

The artist who drew Napoleon week by
week, with all the vulgar insolence which only
a great man's contemporaries can display
towards him, was the same who, half a cen-
tury after the Emperor's death, produced a
conception of the "Leader of the Parisian
Blood Red Republic of 1870." The artist
who, in the last year of the reign of George
the Third, depicted Thistlewood's lair in Cato
Street, drew also, as though with " a mother's
tender care," almost every pane in that glass
palace which the trees of Hyde Park inhabited
in 1851.

Before the punctuality of his interest in
everything new that rose to the surface to
obliterate an expiring mode or event, we stand
astonished. It is not so much as an artist
that we here admire him. It is as an Argus
of the street, an Argus not only with many eyes
but with feet enough to plant him at once in
a hundred corners. From this voluble Argus
his mistress Clio recoils but cannot dismiss

3

GEORGE CRUIKSHANK

him. Aghast she observes him presenting the
Prince Regent in a hundred burlesquely im-
proper parts ; and it is a discreet generation
indeed which remembers Coriolanus address-
ing the Plebeians and forgets The Fat in the
Fire. Clio withdraws, but does not forbid
us to stay. And stay I do, at all events, to
examine the packed and ugly caricatures which
are the visible laughter of Cruikshank the
Argus of journalism. Their violent colours and
vigorous lines fail not in invocation. Before
the student of them rise the supple, blue-eyed
leech called Mrs Clarke and her grossly-doating
Commander-in-chief; Lady Jersey, Lady
Douglas and the other villains of the drama
entitled " Queen Caroline " ; the Marchioness
of Hertford, the Countess of Yarmouth, or
whoever brought down upon Coriolanus the
" heigho ! " of a ribald Rowly ; and, lest one
grow lenient to royal self-indulgence, it is
accused by the recurring presence of a figure
of tormented respectability. It is the Cruik-
shankian John Bull, as different from Sir F. C.
Gould's well-fed monitor of Conservative
politicians as is Cruikshank's darkly criminal
Punch from Richard Doyle's domesticated

4

GEORGE CRUIKSHANK

patron of humour. This John Bull is hacked
to make a Corsican and Yankee holiday,
taxed at the bayonet's point, starved on bread
at eighteenpence the quartern, and offered up
as a sacrifice to a Bourbon " Bumble-head."

But the visions that detain the student of
Cruikshank the journalist are not only of per-
sonages and events. He saw and recorded
the crowd and the clothes of the crowd. His
art preserves the ladies of 1816, who resembled
the bowls of tobacco pipes ; the men of 1822,
who wore trousers like pears ; and the children
of 1826, whom the hatter turned into " Mush-
room Monstrosities."

Cruikshank the journalist constitutes a fame
in himself whose trumpeters are Fairburn, Fores,
Humphrey, Hone . . . , publishers who, in an
age before photo-engraving, easily sold topical
caricatures separately at a shilling or more.
Gillray's name, in my estimation, outweighs
Cruikshank's at the foot of such publications,
while Rowlandson's weighs less. Together
these three masters of caricature compose a
constellation of third and fourth Georgian
humour.

But we have by no means done with Cruik-

7

GEORGE CRUIKSHANK

shank when we have admired him there. A
greater Cruikshank remains to be admired.
Of him there is no assignable master ; neither
Hogarth nor Gillray. He is the illustrator
whose fame makes more than six hundred
books and pamphlets desirable ; he is truly an
artist, a maker of beauty. Stimulated though
this greater Cruikshank was in the flatter
and more decent epoch which succeeded the
age of Coriolanus or King Teapot, of Don
Whisker andos or Sardanapalus, Regent and King
of Britain and mandarin of Brighton, it was
in the age of muddle and debauch, not in
the age of Victorian propriety and reform, that
Cruikshank entered fairyland for the first time
and saw the little people face to face. Cobbett
has ignored the fact, but there is grace in it
even for the " Big Sovereign " whom he
pilloried in five hundred and eleven para-
graphs.

We shall find, alas ! as we proceed, that, as
illustrator, Cruikshank often sank below his
journalistic level. The journalist may always
take refuge in the actual life of the fact before
him ; his are real landscapes, real faces. But the
illustrator has often only lifeless words to instruct

8

GEORGE CRUIKSHANK

him ; when short of inspiration he is in the thral-
dom of his manner. Cruikshank's thraldom
to his manner was the more obvious, since the
manner was often wooden, often joyously ugly.
His fame perpetuates his failures. The insi-
pidity which affronted Boz has no effect in
stopping the demand for "the fireside plate."
Still, his best as well as his worst is in
his illustration of books. It is his best that
excuses the criticism of his worst and enrols
him among the great artists of the nineteenth
century.

I propose in the pages that shall follow to
set down the significance both of his best and
of his worst, avoiding, as befits the date of my
labour, any biographical matter which does
not throw light on his art. And first let us
follow his path in journalism.

II

THE limits of Cruikshank's genius and the
spacious area between them are almost implied
in the fact that he was a Londoner who seldom
or never departed from the " tight little island."
Born in Duke Street, St George's, Blooms-
bury, if the statement in his epitaph in St
Paul's Cathedral is to be accepted, he con-
tinued a Londoner to the end : living in Dorset
Street, near Fleet Street, in Amwell Street, and
Myddelton Terrace, Pentonville, and finally in
the house called successively 4-8 Mornington
Place and 263 Hampstead Road. Yet this
cockney depicted the Spain of Don Quixote and
Gil Bias, the Ireland of Lord Edward Fitzgerald,
and the America of Uncle Tom. Such
courageous versatility was the outcome of a
training so practical that I hesitate to call it an
artistic education.

His father, Isaac, was a Lowland Scot who
lived and, unfortunately, drank by his art,
10

GEORGE CRUIKSHANK

which in 1789, 1790 and 1792 was represented
at the Royal Academy. His period was from
1756 or 1757 to 1810 or 1811. Like his
friend James Gillray, he caricatured on the
side of Pitt. I remember no better carica-
ture of his than Pastimes of Primrose Hill
("Attic Miscellany," 1st Sept. 1791), depict-
ing a perspiring tallow chandler trundling his
children up that eminence. He was energetic
in the delineation of the insipid jollity con-
sidered appropriate to sailors, and he celebrated
the O.P. riots at Covent Garden by drawing
Angelica Catalani as a cat. Thomas Wright
places him only after Gillray and Rowlandson
as a caricaturist, but it is probable that the
man's best is of an academic sort, such as the
pretty drawings which he contributed to a
1794 edition of Thomson's "Seasons." Isaac
Cruikshank's workroom was that of a busy
hack, and George had not been long in the
world before he played ghost there on his
father's copperplates. One of his early tasks
was the background of Daniel in the Lions' Den.
None who looks at the drawing of a super-
cilious benefactor, which is one of George's
earliest efforts, can doubt that in him the
II

GEORGE CRU1KSHANK

caricaturing instinct was basic. The eye is
indulgent to several crudities, because the
flinging is drawn though the hand of contempt
is not, while the gluttonous enthusiasm of the
beggar is a triumph of juvenile observation.
Here are characters if not figures ; here from
a little boy is work that deserves a laugh.
Hence it is not surprising that George Cruik-
shank has been erroneously credited with a
share in Facing the Enemy, a dateless etching,
delightfully droll in animal expression, etched
by his father, after a sketch by H. Woodward,
and published in 1797-8, according to Mr A.
M. Broadley, and not in 1803 as formerly
conjectured.

1803 is the year of Cruikshank's Opus I.,
according to G. W. Reid, his most voluminous
bibliographer. This work, printed and sold by
W. Belch of Newington Butts, consists of four
marine pieces on a sheet, most comfortably
unprecocious and as wooden as a Dutch doll.
A humorist inspecting it might profess to see
in a woman, whose nose and forehead produce
one and the same straight line, a prophecy of
the Cruikshankian nose which is so monoton-
ously recurrent an ornament in the works of
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GEORGE CRUIKSHANK

"the great George." Cruikshank himself
averred that one of the first etchings he was
ever employed to do and paid for was a sheet
of Lottery Prints (published in 1 804) of which
he made a copy in his eighty-first year. The
etching contains sixteen drawings of shops.
The barber's shop door is open to disclose an
equestrian galloping past it, although, even as
a man, he drew horses which G. A. Sala de-
clared were wrong in all the traditional forty-
four points. George Cruikshank himself, whom,
as Mr G. S. Layard has shown, he repeatedly
drew, appears in a compartment of this etching,
in the act of conveying the plate of it to the
shop of Belch, a name for which Langham is
substituted in a reissue of this gamblers'
temptation, and which dwindles into Langley &
Belch in the copy made by Cruikshank in 1873,
published by G. Bell, York St., Covent Garden.
1 806 is the date of the first book, or rather
pamphlet, with which George Cruikshank is
connected. It is entitled "The Impostor
Unmasked," and pillories Sheridan for a
farcical swindler and something worse. There
is a folding plate to fortify the charges of
Patricius the scandal-monger, and this is

15

GEORGE CRUIKSHANK

ascribed to George by Reid, though Captain
Douglas, George's latest bibliographer, only
allows that "there seems to be some of
George's work in it." Reid's authority, which
had in all probability the living George's
behind it, excuses a brief description of this
plate. Sheridan is depicted in the act of
addressing a crowd of Stafford electors,
amongst whom are several creditors who pun
bitterly on the parliamentary word Bill and
damn the respects which he pays them. A
house on the right of the hustings might
have been sketched on a slate by any child
weary of pothooks, but there is a touch of
true humour in the quiet joy shown on the
face of a supporter of Sheridan in the heckling
to which he is subjected. Gillray had already
published (March 10, 1805) his Uncorking
Old Sherry, and so this Cruikshankian cari-
cature may be accepted as George's first step
in the Gillrayan path.

The path of Gillray, in and out of which
runs the path of Thomas Rowlandson, is
seldom or never dull ; sometimes unclean in a
manner malodorous as manure, but with risings
which offer illuminating views. His humour is
16

GEORGE CRUIKSHANK

tyrannically laughable. The guffaw is, as it
were, kicked out of the spectator of The
Apotheosis of Hoche (1798) by the descend-
ing boots, depicted as reluctantly yielding to
the law of gravity, which the triumphant de-
vastator of La Vendee has overcome. Gillray's
sense of design was superb, and he would be
an enthusiast who should assert that George
Cruikshank in political caricature produced
works at once so striking and architecturally
admirable as The Giant Factotum [Pitt]
Amusing Himself (1797). Gillray possessed
what Cruikshank lacked altogether, the inclina-
tion and power to draw voluptuousness with
some justice to its charm. One has only to
cite in confirmation of this statement The
Morning after Marriage (August 5, 1788),
and compare it with any of those caricatures
in which Cruikshank exhibits the erotic pre-
ferences of George the Third's children. What,
however, Cruikshank, in the artistic meaning
of vision, saw in Gillray, he adapted with the
force of a boisterous participant in the patriot-
ism and demagogy of his day. Gillray had
Napoleon for his prey, and no political criticism
is pithier than the caricature which represents

17

GEORGE CRUIKSHANK

the Emperor as Tiddy-Doll, the great French
Gingerbread-Baker, drawing out a new Batch
of Kings (1806). On the other hand, nothing
that Swift is believed to have omitted in his
description of Brobdingnag could be coarser
than The Corsican Pest (1803). It is almost
literally humour of the latrine. Unhappily
Cruikshank exulted like a young barbarian in
the licence conferred by precedent, and it
is hard to view with tolerance his pictorial
records of "the first swell of the age." One
of the wittiest is Boney Hatching a Bulletin, or
Snug Winter Quarters (Dec. 1812); the
Grand Army is there seen in the form of heads
and bayonets protruding from a stratum of
Russian snow ; the courier who is to convey
the bulletin has boards under his boots to
prevent his submersion. Elsewhere one's
admiration for inventive vigour struggles
against disgust at a mode which one only
hesitates to call blackguardism because the
liveliest contents of the paint-box were lavished
upon it. Take, for instance, the caricature
which bears the rhymed title, Boney tird of
wars alarms, flies for safety to his darling's
arms (1813). The devil bears Bonaparte on
18

GEORGE CRUIKSHANK

his shoulders to the Empress Marie Louise,
after the Russian campaign. "Take him to
Bed, my Lady, and Thaw him," says the devil.
" I am almost petrified in helping him to escape
from his Army. I shall expect him to say his
prayers to me every night ! " Another Cruik-
shankian caricature, The Imperial Family going
to the Devil (March 1814), represents the
rejection of Napoleon by that connoisseur of
reprobates, though Rowlandson in the same
month and year depicted the fallen emperor
as The Demi's Darling. Cruikshank's vulgar
facetiousness, interesting by sheer vigour and
self -enjoyment, pursues Napoleon even to St
Helena in the heartless caricature which
portrays him as an ennuye reduced for amuse-
ment to rat-catching. It was not for nothing
that Thomas Moore, alluding to the Prince
Regent as Big Ben, made Tom Cribb say : —

" Having1 conquer'd the prime one, that mill'd us

all round,

You kick'd him, old Ben, as he gasp'd on the
ground."

Gillray is said to have sometimes disguised
his style in order to evade his agreement with

19

GEORGE CRUIKSHANK

Humphrey that he would work for no other
publisher; and there is more than one of
Cruikshank's Napoleonic caricatures which
might be ascribed to Gillray's dram-pro-
viding alter ego if their authorship were in
question. Of such is Quadrupeds, or Little
Boneys Last Kick, published in " The Scourge "
(1813). Here the Russian bear holds a birch
in his right paw, and Napoleon by an ankle
with his left ; a naked devil points to the
crown, tumbling from the head of the capsized
emperor ; on the ground is an ironical bulletin.
Old Blucher beating the Corsican Big Drum
(1814) is an even closer match of the baser
sort of Gillrayan caricature ; while the par-
ticular stench of it rises from Boneys Elb(a)ow
Chair, of the same date. The last caricature
from Cruikshank upon Napoleon came feebly
in 1 842 with the issue of " George Cruikshank's
Omnibus/' wherein he figures as a skeleton in
boots surmounting a pyramid of skulls. The
caricaturist's harlequinade had lasted too long ;
when it ceased, the soul of it utterly perished,
and one views impatiently so formal and witless
a galvanisation as was suggested by the return
of Napoleon, dead, to the reconquest of France.

20

GEORGE CRUIKSHANK

Of Cruikshank's Napoleonic caricatures as a
whole, it may be said that their function was
solely to relieve by ridicule the pressure of a
grandiose and formidable personality upon the
nerves of his countrymen. He did not, like
Gillray in The Handwriting on the Wall, confess
the historic greatness of Napoleon by an allusion
so sublime that it afforded Hone a precedent
for unpunished impiety. When, for serio-comic
verse, he attempted to delineate a monitory ap-
parition, in the shape of Napoleon's " Red Man,"
the result was absurdity veiled by dulness.

But it is time to turn to the Cruikshankian
view of persons and things in Great Britain in
the lifetime of "Adonis the Great." It is
said that while Gillray was productive, an old
General of the German Legion remarked,
alluding to caricature, " Ah ! I dell you vot —
England is altogether von libel." With the
spirit of this speech, one can cordially agree.
The concupiscence of princes was serialised for
the mirth of the crowd.

There were two great types of ascendant
degeneracy to divert the eyes of Farmer
George's subjects from their shops and Bibles.
cc 21

GEORGE CRUIKSHANK

One was his son George, the other Mary Anne
Clarke.

The cabinet in which George kept capillary
souvenirs of so many women was fastened
against contemporary critics of his career.
Undivulged, therefore, was the touching senti-
ment of a philofeminism which, in excluding
his legal wife, was construed but as vice.
There was no Max Beerbohm in his day to
appreciate his polish and talents and to pity
his wife for playing her tragedy in tights.
There was no one to pronounce him the slave
of that most endearing of tyrants, the artistic
temperament. The caricaturists saw simply a
polygamist eager to convict of adultery the
wife whom he disliked and avoided, and a
spendthrift whose debt was inflicted upon the
nation. So far as man can show up his fellow-
men, this man was shown up, and in verse and
picture became an instrument of public titilla-
tion. So roguish a severity as the caricaturists
displayed can seldom be accepted as didactic
Gillray, indeed, in The Morning after Marriage
followed him into the bridal chamber of Mrs
Fitzherbert whom he married in 1785, and
this caricature is the best advertisement of his
22

GEORGE CRUIKSHANK

grace and beauty which perhaps exists. When
attacked by Cruikshank, he was over forty,
for the first caricature of him in which that
artist's hand is noticeable was published in
1808. It is entitled John Bull Advising with
His Superiors: the superiors being George
and his brother Frederick, who sit under the
portraits of their respective mistresses, ff Mrs
Fitz " and Mrs Clarke. John Bull is clean-
shaven, fat-nosed, hatted, and holds a gnarled
stick. " Servant Measters," he begins, " I
be come to ax a bit of thy advice " ; but he
proceeds to freeze them with clumsy innuendo
and adds, (C I does love good old Georg [sic], by
Goles ! because he is not of that there sort,"
meaning their own. After this, the Regent
was for Cruikshank a stimulant to the drollest
audacities. The world was younger then and
could laugh uproariously at the bursting of a
dandy's stays and the mislaying of a roue's
removable whiskers. Mrs Grundy had not
persuaded it of the superior comicality of Mrs
Newlywed's indestructible pie-crust and Mr
Staylate's interview with the parental boot.
So George, who, at any rate, was real life,
blossomed abundantly to another George's

23

GEORGE CRUIKSHANK

advantage. Thus The Coronation of the
Empress of the Nairs (September 1812) — a simile
suggested by a contemporary account of a
curious Asiatic race — depicts him as crowning
the Marchioness of Hertford in her bath ; A
Kick from Yarmouth to Wales illustrates the
assault of the provoked Earl of Yarmouth
upon his wife's too fervent admirer ; and
Princely Agility (January 1812) shows His
Royal castigated Highness confined by a con-
venient sprained ankle to bed, where his
whiskers and wig are restored to him. The
opening of Henry the Eighth's coffin in St
George's Chapel, Windsor, April 1, 1813,
suggests to Cruikshank Meditations Amongst the
Tombs, in which the greatness of the deceased
sovereign forcibly strikes the Regent. " Great
indeed ! " he is made to say, " for he got rid of
many wives, whilst I, poor soul, can't get rid of
one. Cut off his beard, doctor, 'twill make me
a prime pair of royal whiskers." The prince's
partiality for the bottle is severely illustrated.
In The Phenix [sic] of Elba Resuscitated by
Treason (May 1, 1815), he receives the news of
Napoleon's outbreak, seated on a cushion with
a decanter behind him ; and even when he was

24

GEORGE CRUIKSHANK

King, Cruikshank dared to draw him (1822) as
drunk and curing an irritated cuticle by
leaning his kilted person against one of the
posts of Argyleshire.

If, however, Caroline of Brunswick had not,
by adopting a Meredithian baby and other
eccentricities, condemned herself to " Delicate
Investigation " in 1806 and to a trial before the
House of Peers in 1820, Cruikshank's delinea-
tions of Adonis the Great would have seemed
genial compared with Thackeray's contempt.
That his sentiment for the lady was less
chivalrous than Thackeray esteemed it, may
be divined by his caricature of her as an ugly
statue of Xantippe put up to auction " without
the least reserve " (1821), which is less than two
months older than his conception of her as a
rushlight which Slander cannot blow out. But
he perceived, as did the whole intelligent
proletariat, the monstrous irony of George's
belated notice of his wife. Hence in his wood-
cuts to " The Queen's Matrimonial Ladder "
and " Non Mi Ricordo ! " he is not comic but
satirical, and satirical with strokes that turn
THE DANDY OF SIXTY who bows with a grace into
a figure abjectly defiant, meanly malevolent.

25

GEORGE CRUIKSHANK

devoid of levity. A cut in the former pamphlet
shows him standing in a penitential sheet under
the seventh, ninth and tenth commandments,
meeting the gaze of an astonished urchin; on the
outside of the latter pamphlet we see him in the
throes of awkward interrogation, uttering the
" Non Mi Ricordo " which Caroline's ill-wishers
were tired of hearing in the mouth of Bergami.
Mary Anne Clarke, our second type of
ascendant degeneracy, was, if Buck's drawing
of her is truthful, a woman of seductive pretti-
ness, but she could not teach Cruikshank her
charm in atonement for her venality. He drew
her petticoat " supported by military boots "
and surmounted by a cocked hat and the mitre
of the ducal bishop of Osnaburg (February 23,
1809); "under this," it is stated, "may be
found a soothing for every pain." When
Whigs and the Prince of Wales sent the
Duke of York back in 1811 to the high post
which he had disgraced, Mrs Clarke dwindled
in Cruikshank's caricature to a dog improperly
exhibiting its contempt for Colonel Wardle's
left eye. It is curious that the Clarke scandal
did not apparently inspire any caricature which
deserves to live as pictorial criticism. Revealing,
26

GEORGE CRUIKSHANK

as it did, not only rottenness in the State,, but
in the Church, since Dr OMeara sought Mrs
Clarke's interest for the privilege of preaching
"before royalty/' one may well be surprised
at the failure of caricature to ennoble itself in
the cause of honour and religion. Yet Cruik-
shank produced in 1811 a powerful etching —
Interior View of the House of God — which shows,
apropos a lustful fanatic named Carpenter, his
power to have seized the missed opportunity.
In this plate is the contemporary portrait of
himself which P. D'Aiguille afterwards copied.
If we ask, for our soul's sake, to sicken of
the Regent's amours and of the demure
"Magdalen" of York, whose scarlet somehow
softens to maroon because she is literary and
quotes Sallust, it is necessary to leave the
caricatures which laugh with her — especially
Rowlandson's — and look at Cruikshank's tor-
mented John Bull. The most pathetic is
perhaps John Bull's Three Stages (1815). In
the last stage (Peace with all the World)
his child, once pressed to eat after repletion,
says, " Give me some more bone." The hand
that drew the earlier plates of The Bottle is
unmistakable in this etching.

27

GEORGE CRUIKSHANK

It was seemingly in 1819 that Cruikshank
first realised his great powers as a critic in
caricature. To that period belongs what a
pamphleteer called "Satan's Bank Note " : —

" Notes which a 'prentice boy could make
At fifteen for a shilling."

The Old Lady of Threadneedle Street earned
thereby the sobriquet of Hangland's Bank, and
her victims included two women on a day when
Cruikshank looked at the gibbet of the Old
Bailey. They were hanged for passing forged
one pound notes. Cruikshank thereupon drew
his famous Bank Restriction Note, signed by Jack
Ketch, and with a vignette of Britannia de-
vouring her children above an L of rope.
Hone issued this note (of which there are
three varieties) from his shop on Ludgate Hill,
a stone's throw from the gibbet ; the public
flocked to see and buy it, and the moral was
not lost upon the Bank of England, who there-
after sent forth no more one pound notes. The
pathos as distinct from the tragedy of the
condition thus relieved is well recalled by
the caricature invented by Yedis and drawn
by Cruikshank entitled Johnny Bull and his
Forged Notes (January 7, 1819).
28

GEORGE CRUIKSHANK

We now turn to the lighter side of his
topical journalism. One of his subjects was
gas-lighting. The Good Effects of Carbonic Gas
(1807) depicts one cat swooning and another
cut off from the list of living prime donne by
the maleficence of Winzer's illuminant. In
1883 Cruikshank reported a ghost as saying
to a fellow-shade, " Ah ! brother, we never has
no fun now ; this ' March of Intellect ' and the
Gaslights have done us up."

Jenner had him for both partisan (1808) and
opponent (1812). In the former role he makes
a Jennerite say, "Surely the disorder of the
Cow is preferable to that of the Ass," and the
realism is nauseous that accompanies the re-
mark. As opponent he wittily follows Gillray,
who in 1802 imagined an inoculated man as
calving from his arms. Prominent in Cruik-
shank's caricature (a bitter one) is a sarco-
phagus upon which lies a cow whom Time is
decapitating. " To the Memory of Vaccina
who died April the First," is the touching
inscription.

I have already mentioned Cruikshank as a
chronicler of fashion. Gillray was his master
in this form of art, though the statement does

31

GEORGE CRUIKSHANK

not rest on the two examples here given. The
thoughtful reader will not fail to admire the
incongruity between the children in the draw-
ing of 1826 and the great verities of Nature
— cliff and sea — betweeen which they strut.
The latter drawing is as grotesquely logical as
a syllogism by Lewis Carroll. Comparable with
it in persuasiveness is Cruikshank's short-skirted
lady (December 1833) who is alarmed at her
own shadow, which naturally exaggerates the
distance between her ankles and her skirt.
Thence one turns for contrast to the caricature
of crinolines in " The Comic Almanack " for
1850. It is called A Splendid Spread, and re-
presents gentlemen handing refreshments to
ladies across wildernesses of "dress-extenders"
by means of long baker's peels. Such drawing
educates ; it has the value of criticism.

This praise is tributary to Cruikshank's
second journalistic period. By journalistic I
mean topical, attendant on the passing hour.
His first journalistic period begins formally
with his first properly signed caricature, an
etching praised by Mr F. G. Stephens, entitled
Cobbett at Court, or St James's in a bustle, and
published by W. Deans, October 1 6, 1 807. This

GEORGE CRUIKSHANK

period includes Cruikshank's contributions to
" The Satirist/' " The Scourge/' " Town Talk "
and " The Meteor." It merges into the second
period in 1819, the year that saw the first three
volumes of "The Humourist." The principal
journalistic works of this second journalistic
period are Coriolanus addressing the Plebeians
(1820), "Scraps and Sketches" (1828-1832),
" The Comic Almanack " (1835-1853), " George
Cruikshank's Omnibus" (1842), and "George
Cruikshank's Table Book" (1845).

Coriolanus is less a caricature than a tableau
vivant. It was invented by J. S., whom Mr
Layard says was Cruikshank's gifted servant
Joseph Sleap. The " Plebeians " are Thistle-
wood the conspirator, Cobbett armed with Tom
Paine's thigh bones, Wooler as a black dwarf,
Hone, George Cruikshank, etc. George IV.
in his Shakespearean role abuses them soundly.
As regards the monarch, the work is un-Cruik-
shankian ; its laborious and minute technique
is a foreshadowing of a happier carefulness.

The journalism of "Scraps and Sketches
is immortal in The Age of Intellect (1828),
which even Mrs Meynell, writing as Alice
Thompson, found "most laughable." Here a

35

GEORGE CRUIKSHANK

babe whose toy-basket is filled with the works
of Milton, Bentley, Gibbon, etc., learnedly
explains the process of sucking eggs to a
gaping grandmother, who suspends her perusal
of "Who Killed Cock Robin?" while she
declares that " they are making improvements
in everything ! " To my mind the best topical
plate in " Scraps and Sketches" is London going
out of Town, or the March of Bricks and Mortar
(1829). No one who has seen a suburb grow
inexorably in field and orchard, obliterating
gracious forms and sealing up the live earth,
can miss the pathos of this masterpiece. Yet
it is not a thing for tears', but that half smile
which Andersen continually elicits by his
evocation of humanity from tree and bird and
toy. For Cruikshank gives lamenting and
terrified humanity to hayricks pursued by
filthy smoke. He gives devilish energy to
a figure, artfully composed of builder's im-
plements, which saws away at a dying branch ;
and he imparts an abominable insolence to a
similarly composed figure which holds up the
notice board of Mr Goth.

Nearer perhaps to Cruikshank's heart than
this triumph of fancy was The Fiend's Frying

c./

GEORGE CRUIKSHANK

Pan (1832), published in the last number of
"Scraps and Sketches/' which represents the
devil, immensely exultant, holding over a fire
a frying-pan which contains the whole noisy
lascivious crowd and spectacle of Bartholomew
Fair. The fair was proclaimed for the last
time in 1855, and Cruikshank was pleased
to figure himself as an inspirer of the force
that struck at its corrupt charm after the fair
of 1839 and condemned it to a lingering
death. The Fiend's Frying Pan is now chiefly
remarkable as an early example of Cruikshank' s
love of crowding a great deal of real life into
a vehicle that belittles it. This frying-pan
sends the thought forward to the etching
entitled Passing Events, or the Tail of the Comet
of 1853, where Albert Smith's lecture on
Mont Blanc, a prize cattle show, emigration to
Australia, and "Uncle Tom's Cabin," are all
jumbled together in the hair of a comet which
possesses a chubby and beaming face.

The pictorial journalism of the " Comic
Almanacks" is often delicious ; no ephemerides,
in my knowledge, equal them in sustained
humorous effect. Guys in Council (1848)
haunts one with its grave idiocy. Even His

39

GEORGE CRUIKSHANK

Holiness Pius X. could scarce refrain from
smiling at the blank stare of the rigid papal
guy in the chair, at the low guy who, ere
leaving the conclave, challenges him with a
glance of malignant cunning. On the other
hand, it would be hypercritical to seek a
prettier rendering of an almost too pretty
custom than Old May Day (1836), with its
dancers ringing the Maypole by the village
church. Cruikshank's extraordinary power of
conveying dense crowds into the space of a few
square inches — say six by three — is shown in
Lord Mayor s Day (1836) and The Queen s Own
(1838), illustrating Victoria's Proclamation Day.
In the 184-4 Almanack he humorously fore-
shadows flying machines in the form of
mansions; but the 1851 Almanack shows his
liberality scarcely abreast of his imagination,
as Modern Ballooning is represented by an ass
on horseback ascending as balloonist above a
crowd of the long-eared tribe.

One cannot, however, glance through
Cruikshank's Victorian caricatures without
perceiving that the passing of the Regent
slackened his Gillrayan fire. True, in the
" Table Book " we have a John Bull whose agony
40

GEORGE CRUIKSHANK

reminds us of the suffering figure in Preparing
John Bull for General Congress (1813): the
midgets of infelicitous railway speculation who
strip this bewildered squire of hat and rings,
of boots and pocket-book, while a demented
bell fortifies their din, are of an energy
supremely Cruikshankian : no other hand drew
them than the hand which enriched the
immortality of the elves in Grimm. Nor will
one easily tire of a vote-soliciting crocodile in
the "Omnibus"; and yet the fact remains
that the great motives of Cruikshank's political
caricature pulsated no more. He was ludicrously
incompetent for the task of satirising the
forward movement of women : the Almanacks
show that, if their evidence be required. The
subjects of Queen Victoria found in Keene
and Du Maurier pictorial critics who, by the
implication of their veracity, their success,
demonstrate his imperfect understanding of a
generation to whom George the Fourth was
history and legend. To the ironists of that
generation there was something in the Albert
Memorial more provocative than the

" — huge teapots all drill' d round with holes,
Relieved by extinguishers, sticking- on poles"

43

GEORGE CRUIKSHANK

which distinguished the Folly at Brighton.
It is too much to say that the art of the
Victorian epoch establishes this fact; yet of
what caricaturist can it be said as of Cruikshank
that his naif enthusiasm for all that an Age
rather than a Queen signified by the Albert
Memorial forced him into the role of its
patron rather than its satirist ? In A Pop Gun
(I860) there is a pathetically feeble engraving,
after a drawing by Cruikshank of Prince Albert
and the late Queen, which almost brings tears
to the eyes, its insipidity is so loyally un-
conscious. And what does all his marvellous
needlework in the Great Exhibition novel
entitled "1851 : or The Adventures of Mr and
Mrs Cursty Sandboys," accomplish for satire in
comparison with what it accomplishes as a puff
and a fanfare ? Here, as in the Comet of his
ill-fated Magazine (1854), is a skill beside
which his Georgian caricatures are but a
brat's defacement of his Board School wall.
And yet what is the answer to our question ?
Nothing. It is an answer that rings down the
curtain on the diorama called " Cruikshank the
journalist."

44

Ill

CRUIKSHANK'S didactic work was the offspring of
his journalism. No man can journalise with
spirit and remain uncritical. Criticism is, in
truth, the soul of caricature, which by stressing
the emphasis of Nature on face and expression
makes even simpletons judges of grandees.
Photography itself is on the side of illusion ;
but caricature has X-rays for the deformed
fact. That a habit of criticism should evolve
a passion for preaching is only natural, though
it is the modern critic with his hedonistic bias
who has armed the word didactic with a sting.
Even such a critic must admit that Cruik-
shank's preaching was from living texts and
that the preacher seemed well versed in " St
Giles's Greek." But before speaking specifi-
cally of his didactic drawing we will consider
what led up to it. A balladier of circa 1811
threatens mankind as follows : —

45

GEORGE CRUIKSHANK

" Since I have had some comic scenes,
Egad ! I'll sing them all, sir,
With my how, wow, what a row !

fal lal de riddy, riddy, sparkey, larkey,
funny, dunny, quizzy, dizzy, O."

This animal outburst breathes the spirit of
all the " bang up " books of the last Georgian
period, and might almost have served as a motto
for Pierce Egan's "Life in London" (1821),
and David Carey's "Life in Paris" (1822).
Blanchard Jerrold's bibliography of Cruikshank
begins with " A Dictionary of the Slang and
Cant Languages" (180.9), to which the artist
contributes The Beggars' Carnival — a folding
frontispiece. In assisting his brother Robert —
who styled himself "original suggester and artist
of the 2 vols." containing "Life in London"
and its sequel — to illustrate the rambles and
sprees of "Jerry Hawthorn, Esq., and his
elegant friend Corinthian Tom," George seems
to have seen carnival on a more liberal scale.
" Life in London " ranges from the West-
minster [Dog] Pit to Rotten Row, and from
the [Cyprian] Saloon of Covent Garden to the
Press Yard of Newgate. One of the spirited
plates (Tom and Jerry taking Blue Rtiin) power-

GEORGE CRUIKSHANK

fully presents some pitiable pothouse types, and
is a text, though it is not a sermon. Another
illustration, reproduced here, compares equally
with Dick and His Companions Smashing the
Glim in Carey's work. While illustrating
" Life in Paris," George, working alone, pur-
sued the example set by Robert when they
collaborated. Carey credits him with "ac-
curacy of local delineation " — praise which he
has often and variously deserved — yet it must
be confessed that Dick Wildfire like Corinthian
Tom is at once commonplace and out-of-date.
In face he is like George in early manhood as
Corinthian Tom was like Robert : that is his
chief recommendation. The book may be
silently offered to any one who asserts that
George's taste in literature was too nice for
Pierce Egan. One of his plates turns a cata-
comb into a scene of vulgar mirth.

These novels of excess were stepping-stones
to a sounder realism which we find in " Morn-
ings at Bow Street" (1824) and "More
Mornings at Bow Street" (1827). Here the
illustrator's task was to illustrate selected
police cases, and through the medium of
wood engraving a most delectable entertain-

47

GEORGE CRUIKSHANK

ment was the result. A choleric gentleman's
row with a waiter presents itself as a fractured
plate in the rim of which two tiny figures dis-
play respectively the extremes of napkined
deprecation and of kicking impudence. Tom
Crib[b]'s pursuit of a coppersmith suggests a
wild elephant storming after a frenzy of flying
limbs. The genius that was to realise FalstafF
is disclosed in the drawing of a drummer boy
discovered in a clothes basket. Did he come
to Bow Street ? we ask, and did those Cupids
fighting in the circuit of a wedding-ring come
too ? The answer is Yes, but because of one
who probably was not there, whose name we
know.

At one illustration let us cry halt. It re-
presents a foaming pot of beer assaulting a
woman who said to the magistrate, "Your
honour, it was the beer." In itself it is a
masterpiece of delicate literalism. That power
of enlivening the inanimate, which humanises
the pump, representing Father Mathew at a
small party in " The Comic Almanack " of 1844,
exasperates this pot and bids it strike home.
But what we are to observe particularly is this
early presentation to Cruikshank's mind of

GEORGE CRUIKSHANK

alcohol as a personality at war with human
beings. As far back as 1811, in The Dinner of
the Four-in-Hand Club at Salihill, an uproarious
piece in the style of Rowlandson's The Brilliants
(1801), he put the genius of the bottle into
form and anecdote, but here we have the
serious aspect of drink obvious even in humour.
Beer is striking a woman. In 1832 he pro-
duced in The Ale House and the Home a con-
trast so stated in the title that we need say no
more than that the gloomy wife and her baby,
sitting by candlelight in the bare room where
the man's supper lies to reproach his drink-
spoiled appetite, are a sadder sight than the
frying-pan of St Bartholomew's Fair in the
number of "Scraps and Sketches" where
they appear.

To "Sunday in London" (1833) — a capital
social satire — Cruikshank contributed fourteen
cuts, one of which, The Pay-Table, preserves
the memory of those mischievous contracts
between publican and foreman, whereby the
latter received a percentage of the spendings
of his men on drink and the men were pro-
vided with drink on the credit of the foreman.
It is an admirable study in fuddled perplexity

51

GEORGE CRUIKSHANK

confronted with Bung in a business instead
of a Bacchic mood, abetted by a shark of the
victim's calling. Two other cuts — mere rabble-
ment and eyesore — leave on the mind a feeling
of disgust almost without interest and without
shame. The spectator has no sense that these
people turned out at church time, raging, leer-
ing, tottering, have deteriorated from any
average or standard of human seemliness. If
it were not for a dog gazing in amazement at
one prone drunkard, if it were not for the dog
and his question, one would ask, Cui bono ?

This is not missionary work — Cruikshank
was only "flirting with temperance" as late
as 1846 — and we need have 110 compunction in
seeking relief from such ugliness in the ex-
quisite burlesque of pathos contained in Over-
head and Under-foot (1842). Forget who can
the agonised impatience bolted and Chubb-
locked in the breast of that lonely bachelor,
but expressed in his folded arms and upturned
face.

1 842, which saw that, also saw John O'Neill's
poem "The Drunkard," and especially The
Raving Maniac and the Driv'ling Fool, one of
four etchings by Cruikshank which illustrate

52

OVER-HEAD AND UNDER-FOOT. From "The Comic

Almanack," 1842.
ce

GEORGE CRUIKSHANK

it. An anonymous writer, in an article for an
1876 reprint of the etchings, says that these
two figures " are the most forcible ever drawn
by the artist's pencil." This opinion is unjust
to the force of Cruikshank's comic figures, and
to that terrible pair, Fagin in the condemned
cell and Underbill bawling at the stake,
but the force of the etching thus praised is
extraordinary. With parted blubber lips and
knees relaxed, his nerveless left hand dangling
at the wrist like a dead white leaf, his right
hand grasping the gin-glass, the fool, un-
conscious of tragedy, faces the maniac who
streams upon the air sleeves that much exceed
the length of his homicidal arms. By reason
of the delicacy of the etching which conveys
these haunting figures, they excite pleasure
before horror, and always in horror a little
pleasure too.

We now come to the famous series entitled
The Bottle (1847) and its sequel The Drunkard's
Children (184-8). Both these works were
printed from glyphographic blocks and have
as little charm as a stentorian oration in a small
chapel. The story they tell, told also in verse
by Dr Charles Mackay, is the ruin of a working

55

GEORGE CRUIKSHANK

man and his family through drink. The appeal
of The Bottle is simple enough to appal the
aborigines of Africa, to say nothing of the East
End: the bottle is a "Ju-ju/' an evil fetish;
the impulse of the beholder is to smash the
bottle rather than to spill and waste its con-
tents. Yet when the eye succeeds in detach-
ing itself from this pompously evident bottle,
it perceives that the artist has cared also for
details less immediate, but of a finer eloquence.
The liberally filled mantelshelf of plate 1 is at
least not a mere labour of memory, though no
one exceeds George Cruikshank in the pictorial
multiplication of domestic details. This
mantelshelf is a symbol ; symbols, too, are the
open cupboard, so well furnished that a less
industrious artist would have shut it, and the
ill-drawn but well-nourished felinity by the
fire. In plate 2 the cupboard holds naught
but two jugs; the lean cat prowls over the
bare table ; an ornament on the mantelshelf
lies on its side. Had an artist and not a
missionary composed plate 3, we might have
been spared the indecency of a bottle in Lucy's
lap when the furniture is distrained to pay the
bottle's debt. Yet with what horrid strength

56

GEORGE CRUIKSHANK

does the maniac in plate 7 clutch the mantel-
piece, whose bare ledge is lit by a dip stuck in
a bottle, while all the neighbours stare at
something whose face we cannot see ! The
artist has shouted till he was hoarse, but his
story is in our marrows.

The Drunkard's Children contains one master-
piece : plate 1, the boy's death on the convict-
ship. The convict who closes his eyes has
the sagacity of a sentient corpse ; the shadow
he casts on the screen which two convicts
draw around the bed is, in effect, a creature
to startle us, and the visible half of -the chap-
lain's top-hat lying on a bench in a corner
of the drawing is an irony which seems to
belong to a later age than Cruikshank's.

The Bottle, employed as an argument by
Mr William Cash, converted Cruikshank to
teetotalism. The result has been to present
the artist to modern hedonists in the light of
a ludicrous bore. Certain it is that in his
version of Cinderella (1854) he causes the
dwarf to inform the King that " the history
of the use of strong drinks is marked on every
page by excess which follows, as a matter of
course, from the very nature of their composition,"

57

GEORGE CRUIKSHANK

the italics being Cruikshank's, though they
might well be mine. Teetotalism needs talk-
ing and writing, and Cruikshank was happy
to oblige. He possessed a fluent pen, and
delivered lay sermons with enthusiasm and
originality.

About four years after his abandonment
of alcohol, Cruikshank began to figure as a
pamphleteer. In 1851 appeared his "Stop
Thief" — containing hints for the prevention
of housebreaking, hallmarked by teetotalism :
it has a drawing of a burglar retiring because
his companion discloses a board containing the
words, "No Admittance Except On Business."
In 1852 came the "Betting Book," against
both drink and betting ; this has a drawing
of two wonderfully knowing fox-faced bipeds
contemplating a row of geese absorbed in the
perusal of the betting lists. Followed " The
Glass and the New Crystal Palace" (1853), in
which, after confessing that he "clung to
that contemptible, stupid and dirty habit " of
smoking three years after he had "left off
wine and beer," he adds, " at last I laid down
my meerschaum pipe and said, ' Lie you there !
and I will never take you up again.' " The

58

GEORGE CRUIKSHANK

drawings of anserine flight and intoxication
here reproduced compel us to admit that the
cerebral compartment containing Cruikshank's
sense of humour was watertight. In 1854
came " George Cruikshank's Magazine." It
lived long enough for him to inveigh against
tobacco through the medium of a rather
lifeless etching entitled Tobacco Leaves No. I ;
and he died before he could publish in it
certain drawings, included, I believe, in a
series given to the world in 1895 by Sir B. W.
Richardson, which ridicule the "hideous,
abominable, and most dangerous custom " of
sucking the handles of sticks and umbrellas.
To the didactic excesses of his " Fairy Library "
I need not further refer, but in 1856 came
a quasi-temperance pamphlet, "The Bands
in the Parks," where the devil plays the violin
with his tail ; in 1857, " A Slice of Bread and
Butter" (re-issued with prefatory "Remarks "
in 1870), a good-humoured satire on conflicting
views of charity towards waifs ; in 1 860, "A Pop-
Gun ... in Defence of the British Volunteers
of 1803"; in 1863, "A Discovery concerning
Ghosts," in which he claimed to be the only one
who ever thought "of the gross absurdity ... of

59

GEORGE CRUIKSHANK

there being such things as ghosts of wearing ap-
parel, iron armour, walking sticks, and shovels " ;
and here we have a mild and pleasant hint of the
inspissated egoism which dictated " The Artist
and the Author" (1872), the work in which
Cruikshank asserted himself to be the ori-
ginator of "Oliver Twist," "The Miser's
Daughter" and "The Tower of London."
This unfortunate but characteristic pamphlet
is the last of the series that seems to have
been called into existence by the insanabile
scribendi cacoethes induced by his fame as a
teetotaler. I said characteristic, because a
jealous dislike of seeing his individuality
merged into, overshadowed by, or confounded
with any other is apparent not only in 1872,
but in 1834, when he carefully named in " My
Sketch Book " his brother Robert's works,
and pictured himself as lifting off the ground,
by tongs applied to the nose, their publisher
Kidd, for whom he is anxious to state he only
illustrated "The Gentleman in Black" (1831).
Moreover in I860 he misused his " Pop-Gun "
to picture another publisher, who advertised
his nephew Percy as Cruikshank tout court,
as a sandwich-man similarly assaulted by
60

(6) THE GOOSE AFTER THE WHISKEY. From
" The Glass and the New Crystal Palace," 1853

GEORGE CRUIKSHANK

him ; yet by some freak of humour or affec-
tion the "very excellent, industrious, worthy
good fellow " Percy, over whom I throw the
embroidery of his uncle's praise, bestowed the
name of George upon his son, as if for the
confusion of bibliographers, and the evocation of
a spirit armed with the ghosts of tongs. In-
deed the gods themselves seem to have sported
with George Cruikshank's name, for Dr Nagler,
having read that "the real Simon Pure was
George Cruikshank," wrote thus in his " Neues
allgemeines Kiinstler-Lexicon" (1842): "Pure
Simon, der eigentliche Name des beriihmten
Carikaturzeichners Georg [sic] Cruikshank."

Simon Pure shall save us from digression
by leading us to a didactic work by Cruik-
shank of which Mrs Centlivre's "quaking
preacher" would have heartily approved.
This work is the oil-painting entitled The
Worship of Bacchus (1862). It is an old
man's athletic miracle, being a picture thirteen
feet four by seven feet eight, of which there
exists an etching by the same hand of less,
though formidable size, which was published
June 20, 1864. The oil-painting was pre-
sented to the nation by Cruikshank's friends

65

GEORGE CRUIKSHANK

and conveyed to its destination April 8, 1869-
Cruikshank drew a fancy sketch of his mam-
moth on that great day of its life. Little did
he imagine what the cognoscenti of the
twentieth century would think of it.

I saw it in 1902 ; visited it much as one
visits an incarcerated friend, following a
learned official with jingling keys to a dun-
geon under the show-rooms of the National
Gallery. It was alone, was convict 495, alone
and dingy. Many phrases have been found
for this picture. John Stewart said that it
contains " all the elemental types of pictorial
grouping, generalised 011 the two axioms of
balance and variety." Another critic said
that " it is not even a picture, but a multitude
of pictures and bits of pictures crowded to-
gether in one huge mass of confusion and
puzzle." Cruikshank himself said, speaking
August 28, 1 862, " I have not the vanity to call
it a picture. ... I painted it with a view that
a lecturer might use it as so many diagrams."

However he felt, Cruikshank spoke correctly.

Painted in low relief, the oil-painting presents

his intention less satisfactorily than his

etching of the same subject. Whatever its

66

GEORGE CRUIKSHANK

demerit, the work is extremely Cruikshankian.
Robert and George Cruikshank, in the " Corin-
thian Capital " of "Life in London/' patched up
a similarly artificial fabric. George, in a work
that should not be mentioned in the same
breath — The Triumph of Cupid (1845)— evokes
innumerable amatory incidents by means of
the tobacco which he renounced so con-
tumeliously. We have in The Worship of
Bacchus, the result of a method equally naif
and ingenious. The root idea is materialised
in conjunction with a myriad of associative
ideas, and the picture is worse than a con-
fusion ; it is a ghastly and ostentatious pattern
at which one can neither laugh nor cry. It is
the work of a big accomplished child, whose
ambition to be grown up has destroyed his
charm.

At the summit of the picture Bacchus and
Silenus wave wine-glasses while respectively
standing and sitting on hogsheads. In the
middle of the design is a stone ornamented
with death's-heads, 011 which a drunkard waves
a glass and bottle in front of the god and demi-
god. The stone has an inscription tributary
to the drunkard's victims. On the left side

GEORGE CRUIKSHANK

of the throne of Bacchus are a distillery,
reformatory, etc. ; on the right is a House of
Correction, Magdalen Hospital, etc. In short,
the picture is a pictorial chrestomathy of
drink. That it has converted people, that
it has even won the tribute of a man's tears,
is not surprising, for it is, or was, full of truth-
ful suggestion seizable by the mind's eye.
But it is not beautiful. Thackeray might
call it "most wonderful and labyrinthine";
it is ugly and ill painted, for Cruikshank was
no Hogarth with the brush.

So it lay, and perhaps yet lies in its dungeon,
and overhead Silenus still triumphs divinely
drunk on Rubens's canvas ; and Bacchus,
ardent for Ariadne, leaps from his chariot in
that masterpiece of Titian, which Sir Edward
Poynter believes is " possibly the finest picture
in the world." Poussin's Bacchanalian fes-
tivities are still for the mirth of a world
whence Bacchus has fled ; but the god en-
throned on hogsheads is not mistaken for
Bacchus now : Bacchus was stronger than
Cruikshank. The whole deathless pagan world
of beauty and laughter is by him made rosier
and more silvery. Cruikshank never drew
68

GEORGE CRUIKSHANK

him ; the god he drew was Bung in mas
querade.

I was at Sotheby's on May 22, 1903, when
the Royal Aquarium copy of the etching of The
Worship of Bacchus was sold. It evoked a sneer
of <e wall paper " ; and if etchings could think,
it would have envied the seclusion in which I
found its brother in oils.

But at least it was not given to the nation.
The fact that the National Gallery should
possess Cruikshank's colossal failure instead of
his Fairy Ring, instead of any etching from
" Grimm " or " Points of Humour," is an
accusation against common sense and a triumph
of irony.

Let it be remembered, however, that Cruik-
shank's exposure of ebriety from 1829 to 1875,
the date which John Pearce in "House and
Home " assigns to his last temperance piece,
deserved at times the notice of fame. Matthew
Arnold, denying the power of (( breathless
glades, cheer'd by shy Dian's horn" to calm the
spectator of The Bottle, showed more than his
ignorance of Diana and her peace. He showed
that Cruikshank the preacher was a magician
too.

c/ 69

IV

THE best part of Cruikshank's service to Fact
has yet to be considered. We have seen how
he journalised and exhorted ; we have still to
see the talent he poured into journalism and
exhortation refined by his historical sense and
expressing itself in shapes of treasurable beauty.

The historical sense in art may be liberally
defined as an aesthetic impulse to fix the vanish-
ing and recover the vanished fact. It may be
absent at the birth of a cartoon filled with
political portraits and it may have urged the
reproduction of a quiet landscape with nothing
more human in it than a few trees or a line
of surf. It operates without pressure of topi-
cality and it is stronger than the tyranny of
humour.

The reader, searching for the earliest ex-
amples of Cruikshank's historical imagination
to be found in the books which he illustrated,
would first of all alight on "The Annals of
70

GEORGE CRUIKSHANK

Gallantry/' by Dr A. Moore (1814-15), and
"An Historical Account of the Campaign in
the Netherlands in 1815," by William Mudford
(1817). Suspecting the grotesque, he would
nevertheless also examine the thirty plates to
the Hudibrastic " Life of Napoleon" (1815) by
Dr Syntax.

As to the " Annals," one may unreluctantly
condemn the whole series of plates after a
glance at the feeble scratches which disfigure
the amours of Lady Grosvenor and the Duke
of Cumberland, and the elopement of Lady
W with Lord Paget. In Mudford's un-
generous history, Cruikshank's frontispiece,
engraved by Rouse (as are his other contribu-
tions), has the stiff integrity of portraiture to
be expected from a repressed caricaturist ;
Napoleon in flight on his white horse in another
plate does not even support the comparison of
his horsemanship to a sack of flour's ; the
ribbon-like plate of Waterloo, full of micro-
scopic figures, has the chastened spirit natural
to a work done (e under the inspection of
officers who were present at that memorable
conflict."

The illustrations to Dr Syntax's Hudibrastic

71

GEORGE CRUIKSHANK

poem on Napoleon have some originality to
recommend them as a starting-point for the
student of Cruikshank as a delineator of
historical subjects. They are etchings, broad
as the typed surface of an octavo page is long,
and include the Red Man derided on page 21.
But the artist already shows that he has fancy
as well as satire at his command. Witness the
illusion created by the sleeping Napoleon
lifting the coat on his bed in humping the
counterpane with perpendicular toes, an effect
which was remembered in Cruikshank's Ideality
(Phrenological Illustrations, 1826). There is
humour, too, in the etching which represents
one of Napoleon's grenadiers mounted on a
stool in order to look as terrible as his com-
panions. Though a rancorous prejudice makes
Napoleon stand on a cross in one plate and his
apothecary smile at poisoning the sick at Jaffa
in another, there is sympathy in a third which
depicts him nursing the Ring of Rome, and
the eccentricities of Cruikshank's journalistic
style are happily absent.

We may now pause at the four famous
volumes of" The Humourist " (1819-20). They
contain, inter alia, a portrait of Alfieri — a fine
72

GEORGE CRUIKSHANK

figure of silent disdain — in the act of sweeping
to the floor the tea service of a badly drawn
Princess, who was tactless enough to wish he
had broken the whole set instead of one cup.
The table leg is a satyr's surmounted by the
Mephistophelian head considered appropriate
to the companions of Pan ; above the main
design are the implements of a writer ; below
it are two porcelain mandarins yoked to a three-
headed and triply derisive bust. Another
historical subject in "The Humourist" is Daniel
Lambert, to whom a bear once doffed his hat.
Ursine politeness and the petrified majesty
of fat Lambert fill the foreground of the
etching ; behind is a rout of people frightfully
interested in another bear. In the former of
these etchings the hint is better than the
performance ; the latter hints nothing and
performs a little admirably.

1823-4- is a period to which we owe some
historical etchings of consummate skill. They
illustrated " Points of Humour/' a work in two
parts which was expressly designed to afford
scope for Cruikshank's power of rendering
ludicrous situations. The artist was on his
mettle, and his twenty etchings for this collec-

73

GEORGE CRUIKSHANK

tion of anecdotes are among the immortal
children of Momus. Among his simpler designs
is the scene in the apartment of Frederick the
Great when his heir presumptive demanded if
the monarch would return his shuttlecock.
The required studies of childish impudence and
royal amusement are perfect. More elaborate,
but equally successful, is the drawing of the
voracious boor, the ill-natured general whom he
offered to eat, and the King of Sweden wrho
enjoyed the spectacle of their emotions. The
boor with the hog on a plate under his arm,
his terrible teeth a-glitter for hog and general,
is more alarming than the ogre in Cruikshank's
Hop-o -my-Thumb ; he tacitly affirms his crea-
tor's power to confer delicious terrors on
the nursery. Flying Konigsmark's fear of
pointing hand and barrack-like paunch mingles
exquisitely with the hatred of his backward
glance, and Charles Gustavus smiles with un-
pardonable aplomb. The etching is a comic
masterpiece. After this there is no advance
in Cruikshank's comic treatment of history,
for his quite simple rendering, more than ten
years later, Miscellany" (1838), of a freak of
absent-mindedness on the part of Sir Isaac

74

TURPIN'S FLIGHT THROUGH EDMONTON.
From "Rookwood," 1836.

GEORGE CRUIKSHANK

Newton in "Bentley's, is of merely sufficient
merit.

The Ainsworth-Cruikshank connection be-
gan, artistically, with the etchings which illus-
trate the fourth edition of" Rookwood " (1836).
If for Turpin we read Nevison, the novel may
pass as quasi-historical. The etching here re-
produced is in what may be called Cruikshank's
" Humourist " style. It has vivacity and
brightness. The reader who figured himself
passing into romance through the pretty portico
of trees depicted on Ainsworth's title-page,
will feel, as he looks at this representation of
comic prodigy, that he has arrived.

One thief succeeded another, and in 1839
Jack Sheppard was pilfering his way through
"Bentley's Miscellany." If he had done
nothing else, Cruikshank would have made a
deathless reputation for technical skill by the
etchings in "Jack Sheppard." Sala, who
copied the shop-scene entitled The name on the
beam., observes of this etching, at once so pre-
cise and imaginative, that it is " in its every de-
tail essentially Hogarthian." It is a just saying.
One can easily imagine Dr Trusler poring over
it and recording his small discoveries with

77

GEORGE CRUIKSHANK

something of the relish he found in his
Hogarthian exploration. Appropriately enough,
Hogarth's portrait appears in the clever etch-
ing which depicts Jack in chains sitting to two
artists, the other being Sir James Thornhill.
Thackeray has done justice to the high qualities
of the etchings entitled The Storm and The
Murder on the Thames. There are effects in
Cruikshank's river scenes poetic enough and
near enough to that verity which Impressionists
serve better than Ruskinians, to have detained
Whistler for a minute that might have regene-
rated the fame of Cruikshank.

"Jack Sheppard," with its requisition of
antiquarian exactness so plausibly met, may
well have suggested to Cruikshank a more
epic theme than the exploits of a master-thief,
revolving about a nobler gaol than Newgate.
In a letter which may or may not have been
posted (it is to be read at the back of No.
9910 H in the Cruikshank collection at South
Kensington), he writes : " The fact is, I am
endeavouring to emancipate myself from the
thraldom of the Booksellers, whose slave I
have been nearly all my life ; to effect this
object I have published, in conjunction with

78

JONATHAN WILD SEIZING JACK SHEPPARD AT HIS

MOTHER'S GRAVE IN W1LLESDEN CHURCHYARD.

From "Jack Sheppard," 1839.

I

GEORGE CRUIKSHANK

the author, a work called 'The Tower of
London.' "

Of the acrimonious discussion that Cruik-
shank started by claiming to have originated
Ainsworth's romance, I shall say little. That
Cruikshaiik was the senior partner there is no
doubt. It was he who took Ainsworth to the
Tower, and he asserted that he " hardly ever
read a line" of the text, which must be con-
sidered to illustrate his designs. It may be
said, however, that Ainsworth's text has been
repeatedly devoured without the aid of Cruik-
shank's designs. He was a public idol. Smiled
on once by Sir Walter Scott, he contrived to
become the first horror-monger, rid history,
of an age whose favourite realism was the safe
realism of torture and decent crime. In the
September before his death, which occurred
January 3, 1882, he was informed by the Mayor
of Manchester that the last twelve months'
record of the public free libraries of that town
showed that " twenty volumes of his works"
were " being perused in Manchester by readers
of the free libraries every day all the year
through."

That I may not write a decrescendo about
8l

GEORGE CRUIKSHANK

the designs for " The Tower of London/' I begin
with their faults. Cruikshank's Simon Renard
is too darkling a Spaniard even for a staged
Spain, and even Lady Jane Grey's waist should
have been made rather larger than her throat.
"Mere skeletons in farthingales/' quoth "The
Athenaeum " of Cruikshank's Queen Mary,
Jane and Elizabeth. To what extent defective
figure-drawing diminishes the proper force of
Cruikshank's designs the reader may judge
by the reproduction of The Death Warrant,
which is presented as a frank example of his
melodramatic invention. The masked assassin
peers at the Spanish Ambassador through the
window of the chamber of the Tower where
the little princes were murdered, and where
the pen that has just doomed Lady Jane
Dudley hovers in Queen Mary's hand. Her
hound is an incarnate presentiment and the
gods of old Drury could have asked no more.
There are, however, far finer plates in the
book. In Underbill, the Hot Gospeller,
burning at the stake, his finger nails riveted
to his bare shoulders while he bawls his last
agony, Cruikshank shows the longevity of the
Marian crime — the crime of creating fears and
82

THE DEATH WARRANT.
From " The Tower of London," 1 840.

GEORGE CRUIKSHANK

loathings, for here we have absolutely a
reflective shudder, a naked confidence from
an abominable place which we thought was
cleansed by merciful years. No other figure
in the gallery of Cruikshank's "Tower" is so
vital as this dying man, but he drew a hand-
some Wyat, an executioner as repulsive as a
ghoul, and groups — for instance Elizabeth and
her escort on the steps of Traitor's Gate —
which a stage manager of melodrama might
like to imitate.

Partly contemporaneous with "The Tower
of London " was Ainsworth's " Guy Fawkes "
(1840-1) with Cruikshankian etchings, which
are as little serviceable to the dignity of a
brave fanatic as the effigies exhibited by boys
on the fifth of November. Cruikshank had
drawn a typical effigy of Guy for ' ' The
Every-Day Book " of 1826 ; twelve years later
came his ludicrous Guys in Council, but being
required in 184-0 to produce a serious Guy he
only succeeded in being operatic. In one of
his etchings the rigidity of Guy's cloak
suggests that the garment is a " bath-cabinet "
in occupation ; in another a celestial visitor
resembles a Dutch doll. Such failures are not

<* 85

GEORGE CRUIKSHANK

to be explained by a desire to annoy the
publisher of "Guy Fawkes," Richard Bentley,
whom Cruikshank bitterly attacked in 1842.
Cruikshank could and did produce etchings
in a hurry for stories which he had not read,
by way of expressing his dislike for a contract
which survived his approval of it; but he
could also be befooled by his own solemnity.

Cruikshank's relations with Ainsworth
continued in " Ainsworth's Magazine," of which
the first number bears the date February 1842.
Among the stories in this magazine which
Cruikshank illustrated must now be mentioned
"The Miser's Daughter" (1842), "Windsor
Castle" (1842-3) and "St James's: or the
Court of Queen Anne" (1844). The first of
these stories is only incidentally historical, but
it afforded Cruikshank an opportunity for
quickening his hand with the spirit of place.
He has told us that his drawing of West-
minster Abbey Cloisters and Lambeth Church,
etc., are "correct copies from nature" [sic],
and it almost seems as we look at his etchings
and watercolours for "The Miser's Daughter"
that he copied not only stones but living scenes.
His ball in the Rotunda at Ranelagh has the
86

THE DUEL IN TOTHILL FIELDS ("The Miser's Daughter ").
From " Ainsworth's Magazine," 1842.

GEORGE CRUIKSHANK

charm of lavish light and dainty gaiety ; the
humour and grace of his Masquerade in
Ranelagh Gardens are too obvious for discovery,
and his rendering of the pursuit of a Jacobite
Club on the roofs of houses within view of
Westminster Abbey is a striking nocturne.

In Cruikshank's designs for" Windsor Castle,"
Mr Julian Moore finds "the minimum of
charm and freshness in the drawing, and
maximum of achievement in technique." I
am in disagreement with this verdict, but it is
not unintelligent. Cruikshank's "machine-
ruling " is tyrannous to his Ainsworthian work,
and an artist serving the historic muse when
she is very much in earnest can only pray to
be academic when he is not inspired. But
Cruikshank did admirable work for " Windsor
Castle," and could hardly help wishing to
outshine Tony Johannot, who was also em-
ployed in illustrating that romance. Since
" the great George " is not present to assail
me in a vehement script, I may say that I
discern an influence of Johannot upon
Cruikshank's design (spirited but not in-
sufferably vigorous) entitled The Quarrel between
Will Sommers and Patch, for there was some-

GEORGE CRUIKSHANK

thing called artistic restraint to be learned
from the French illustrator of Cervantes, and
this quality is in the etching I have mentioned,
and not negatively there but as a positive gift
of touch. Of Cruikshank's Henry the Eighth,
it need only be said that he is bluff King Hal ;
his Anne Boleyn and Jane Seymour are mere
females : his Herne is as impressive as a
person can be who jeopardises the dignity of
demonhood by wearing horns.

"St James's," the last important novel by
Ainsworth which Cruikshank illustrated, gave
the artist opportunities for drawing St James's
Palace, London, and portraits of the Duke of
Marlborough and other celebrities. He ac-
cepted these opportunities, but his most
striking designs remind one of his illustrations
for Smollett. He rejoices in the contrast
between masculine lath and feminine tub, and
in one plate afflicts us with a grinning face
which exceeds in ugliness any of C. Delort's
portraits of "I'Homme qui rit." The vigorous
design here given touches the imagination on
account of the absent presence of the dame
in the picture hanging on the wall.

In " Ainsworth' s Magazine" for January
90

THE MARQUIS DE GUISCARD ATTEMPTING TO

ASSASSINATE HARLEY. The man on the table draw-
ing his sword is the Duke of Newcastle (u Saint James's ").
From " Ains worth's Magazine," 1844.

GEORGE CRU1KSHANK

1846 the last fruit of Cruikshank's connection
with Ains worth appeared, after a year's
sterility, as a careful etching illustrating
that novelist's "Sir Lionel Flamstead, a
Sketch " : in the preceding year Cruikshank
produced for W. H. Maxwell the series of
historic etchings which, in the opinion of Mr
Frederic G. Stephens, "marks the highest
point of Cruikshank's invention." These etch-
ings illustrate a history of the insurrections in
Ireland in 1798 and 1803. In the selection
of Cruikshank, Maxwell or his publishers may
have remembered the skill with which he had
illustrated I. Whitty's " Tales of Irish Life "
(1824), though it is one thing to render the
frantic humour of a fight arising from O'Finn
calling Redmond a rascal, or the muddled
emotions of a wake, and quite another to ex-
hibit the conflict between two nightmares of
patriotism. Howbeit Cruikshank realised the
horror and poetry of war. His twenty-one
Maxwellian etchings are instructively com-
parable with Callot's precious series " Les
Miseres et les Mal-heurs de la Guerre (1633).
Callot is at once more horrible and self-
restrained. One peers into his work ; one

93

GEORGE CRUIKSHANK

listens to Cruikshank's. The artist of the
seventeenth century drew with minute delicacy
the forms and gestures of men. He studied
them as a naturalist, indifferent to the in-
dividuality of the unit after fixing the in-
dividuality of the class to which it belongs.
Callot's men are users of the wheel and the
estrapade ; they roast the husband while they
ravish the wife. They are not grotesques :
they are men. Maurice Leloir drew men of
their age and country no more elegantly for
the bravest novel of Dumas. Cruikshank, on
the other hand, drew well and hideously not
only Irish men, but Irish individuals. His
rebel, obscenely jocose, impaling a child, might,
though a detail in a crowded etching, have been
drawn for Scotland Yard; so too might a
woman squatting and smoking while a wretch
writhes on four pikes which take his weight
and give it him back in torture. England is
to glow, Ireland is to blush as she looks at
Cruikshank's people of '98. As clear on the
memory as his Irish ruffianism is his portrait
of the little drummer dying with his leg
through his drum to protect its voice from
dishonour. One has heard of Lieutenant

94

GEORGE CRUIKSHANK

Hepenstall — him who was called " The Walk-
ing Gallows " — as well as of the drummer of
Gorey, but Cruikshank was satisfied with
partizanship, and Ireland forgets him.

Our liberal interpretation of history allows
us now to consider a few of the works of
Cruikshank which preserve for us scenes and
types of his age with or without the accompani-
ment of a fictitious text.

For his delineations of the sailor of Nelson's
day we owe much to a capital but neglected
novelist M. H. Barker, -author of "Greenwich
Hospital" (1826), "Topsail-Sheet Blocks"
(1838), "The Old Sailor's Jolly Boat" (184-4),
etc. Before the appearance of the earliest of
these books Cruikshank had etched Lieut.
John Sheringham's designs entitled "The
Sailor's Progress" (1818), and those by Capt.
Marryat entitled " The Progress of a Midship-
man " (1820). The illustrations to the quarto
called " Greenwich Hospital," are deservedly the
most famous of Cruikshank's sea-pictures.
With lavish detail they exhibit Jack tearing
along by coach across pigs and fowls at finable
knots per hour ; carousing in the Long Room
with billowy sirens under a chandelier of

95

GEORGE CRUIKSHANK

candles ; crossing the line in a frenzy of
ceremonious facetiousness ; yelling in an inn-
parlour — though armless or "half a tree"-
his delight in victory and Nelson; . . . and
tied up for a whipping like a naughty boy.
Barker was so pleased with one of the illustra-
tions for" Greenwich Hospital" that he wrote on
a proof (No. 1003-4 in the Cruikshank collec-
tion at South Kensington), " Dear Friend, if
you never do another design, the leg of that
table will immortalise you. It is a bona fide
Peg." There is a mood in which Clio prefers
that crippled table-leg to Cruikshank's idea
of Solomon Eagle "denouncing of Judgment"
upon London.

We have now sounded the word which
invites inquiry as to the nature of Cruikshank's
artistic service to London. London is not the
Tower or St James's Palace. Cruikshank,
however, is not injured by this scorching
truism. If we go back to 1827 and 1829 we
encounter in "The Gentleman's Pocket
Magazine" twenty- four London Characters) of
which fifteen are from the hand of George
Cruikshank, who doubtless remembered Row-
landson's "Characteristic Sketches of the

SOLOMON EAGLE. From the drawing by G. Cruik-
shank, as engraved by Davenport for " A Journal ot
the Plague Year," 1833.

GEORGE CRUIKSHANK

Lower Orders " (1820). George is responsible
for very neat portraits of a beadle, waterman,
dustman, watchman . . ., and the Cruik-
shankian enthusiast cries " Eureka ! " for he
spies Mr Bumble among them. With " Sunday
in London" (1833) came the first example
of Cruikshank's comic treatment of London,
which a book-collector, as distinct from a
print-collector, can prize. The woodcuts in
this volume reveal a state of society in which
people had less sense of proportion than they
have now, and were excessively vain or exces-
sively humble, according to the state of their
paunch and the view of them held by the
policeman or the beadle. The power of the
beadle had not yet been broken by a metrical
inquiry concerning the origin of his hat.
Frenchmen were still "mounseers," and
soldiers marched to Divine Service through
St James's Park to the tune of "Drops of
Brandy." The flavour of the obsolete is rich
in "Sunday in London" ; we who look at it
feel strangely toned-down.

Place in London as well as character is
presented vividly in Cruikshank's contributions
to " Sketches by Boz " (1836-7). Witness the

99

GEORGE CRUIKSHANK

examples here given. In The Streets, Morning,
I, a Londoner, feel the poetry of streets
cleansed by quiet, the chastity of Comfort
enjoyed, as it were, by the tolerance of Hard-
ship. The little sweep is an extinct animal,
and yet we are in the neighbourhood of
Seven Dials. Monmouth Street, as exhibited
by Cruikshank in the same work, is an
appreciation of the Hebrew dealer in old clothes
as well as a caricature. We feel the street to
be an open-air parlour and nursery combined ;
it remains imperturbably domestic though we
walk in it. Another etching, depicting a
beadle hammering the door of a house supposed
to be on fire, elicited from Mr Frederick
Wedmore the confession that he knew no
artist "so alive as Cruikshank to the pretty
sedateness of Georgian architecture," though
the remark will be more appreciated after a
look at the pretty etching entitled French
Musicians or Les Savoyards (1819), reprinted in
" Cruikshankiana " (1 835).

Cruikshank's London ideas were further

realised in "Oliver Twist" (1838), a novel to

which he contributed etchings so documentaiy

as well as imaginative that he attempted to

loo

THE STREETS, MORNING. From « Sketches by Boz,"
Second Series, 1837.

GEORGE CRUIKSHANK

deprive Dickens of the glory of authorship, by
claiming the origination of the story. The
fact was, he had grown to be a collector : he
was collecting fame, and in the passion of his
hobby he felt that he might claim to have
originated the novel which owed local colour
and a formative idea to his suggestions. The
subject really belongs to the pathology of
egoism. Cruikshank gained nothing by seek-
ing laurels in the field of literature except the
impression on paper of a weakness one prefers
to call juvenile rather than puerile.

Yet he had much to give Boz, if that
gentleman was minded to write of rogues,
Cruikshank knew all about Buzmen and Adam-
tilers ; the days when he drank bene bowse
had not been wasted, if low life be worth
depicting. We may accept as portraits his
Fagin and Sikes and Artful Dodger, without
digesting the statement that Fagin condemned
is himself in perplexity, and Fagin uncon-
demned the image of Sir Charles Napier.
Undoubtedly, the workhouses in England of
the third decade of the nineteenth century
are in popular fancy all ruled by the nameless
master in cook's uniform, of whom Oliver
103

GEORGE CRUIKSHANK

asked more, but it is not Boz's master, it is
Cruikshank's. All beadles are one Mr Bumble
— the Bumble of Boz and Cruikshank, though
without the shadow of the sack with which
the novelist eclipsed him. The etched scene
where Fagin, frying sausages, receives Oliver
in a den of thieves, has a squalid comfortable-
ness— a leering charity — which praises Hell.
The etched scene of Sikes's desperation on the
roof of a house in Jacob's Island, Bermondsey,
is in essence Misery itself, vermicular as well
as violent. The etched scene where Fagin
sits with blazing eyes in the condemned cell
at Newgate under a window which shows him
up like the Day of Judgment has been called
fe a picture by Fagin," for rhetoric exhausts
itself in confessing its horror. In "Jack
Sheppard," Cruikshank drew Newgate with
particularity, he drew Bedlam with a maniac
in it; for "A Journal of the PJague Year," he
drew The Great Pit in Aldgate, but Fagin in his
extremity belittles other horrors in Cruikshank's
gallery of art. London is ashamed to see and
acknowledge him ; he makes her long for rain,
and soap in the rain ; he makes her remember
her river.

104

THE LAST CABDRIVER. From " Sketches by Boz,'
Second Series, 1837.

GEORGE CRUIKSHANK

The reader will therefore look sympathetic-
ally at the powerful etching here reproduced
from Angus B. Reach's "Clement Lorimer"
(1849). It is a kidnapping scene; there is a
drugged girl in the boat; the pier against
which an oar has snapped supports an arch of
London Bridge

It might be doubted if Cruikshank personally
cared for any locality except London if it were
not for evidence in the South Kensington
Museum and the dispersed collection of the
metropolitan Royal Aquarium. Number 9502^
in the South Kensington collection of his work
is a design for a house which he intended to
build for himself at the seaside. The Royal
Aquarium collection contained several water-
colours by him of littoral subjects. Hastings may
remember what she was like before the building
of her esplanade by means of two water-colours
by him,, dated respectively 1820 and 1828,
which Mr Walter Spencer bought for five
guineas. A Distant View of Shakespeare's Cliff]
Dover, secured by Mr Frank Karslake, tempted
that art-dealer, who was its possessor when I
last saw it, to withhold it from his customers.
It is soft, slight and pretty. With a fanciful
107

GEORGE CRUIKSHANK

Beachy Head (a water-colour " sketch from [sic]
part of Shakespeare's Cliff, Dover, 1830") it
sold for seven guineas, the " Beachy Head "
being an outline of the cliff resembling a head
looking left with dropped eyelid as seen
(perhaps exclusively) by Cruikshank, who re-
presents himself as standing in front of it ; and
I mention this "Beachy Head" because the same
idea informs a rather subtle drollery in " My
Sketch Book" (1833), where a couple are
depicted in their fright at seeing a human face
outlined by the edge of the top of Shakespeare's
Cliff. All the sales mentioned in this paragraph
were made at the auction at Sotheby's, 22 and
23 May 1903.

We have had already to touch on the way in
which Cruikshank was the historian of himself.
Thanks to his literary aggressiveness, mixed
with love, so quaint and like talk in expres-
sion, that his pages resemble cylinders for a
phonograph, we look at his autobiographical
drawings with genuine interest. In Sir
Benjamin Ward Richardson's publication of
1895 — " Drawings by George Cruikshank,
prepared by him to illustrate an intended
autobiography " — we are introduced pictorially

108

MASS Like c.a-ti.lr ol a\vii/ du/rtruo kor Tr3.nct. .
From "Clement Lorimer," 1849.

GEORGE CRUIKSHANK

to "George, Nurse, Brother and Mother at
Hampstead " ; and the same volume shows
our artist unpleasantly situated on a roof sub
titulo The Button-hole of a Naughty boy caught by
a nail. In the South Kensington collection
George shows us very crudely a Fire in the South
East end oj London to which I ran when a boy
with the Engine from Bloomsbury. In 1 877 George
sketched himself as he was about 1799> when
he looked at his father while Isaac Cruikshank
was drawing, and we realise the affection in
this reminiscence upon seeing George's
grotesques of low life done when he was " a
very little boy " on the same page where the
academic Isaac has drawn a conventional
heroic nude and a little girl suitable for
a nursery magazine (S.K. coll. No. 9814).
Under a pencil sketch (S.K. coll. No. 9817) we
read " George Cruikshank when a boy used to
put his mother's Fur Tippet over his head like
the above and make frightful faces for fun."
In published work Cruikshank repeatedly
presents his own portrait, my favourite
examples of his self-portraiture being the
painter in Nobody desires the Painter to make him
as ugly and ridiculous as possible (" Scraps and
111

GEORGE CRUIKSHANK

Sketches/' 1831), and that of himself going in
as a steward with Dickens and others to a
Public Dinner ("Sketches by Boz," 1836).
An excellent example of a comic presentation
of himself is the frontispiece to this volume.
Enviable and admirable health of mind is
shown by Cruikshank's love of his own face,
upon which flourished, under a high forehead
and "blue-grey eyes, full of a cheerful sparkling
light," " an ambiguous pair of ornaments," par-
taking "vaguely," writes Mr Walter Hamilton,
"of the characteristics" of whiskers, moustaches
and beard.

I conclude this chapter with a reproduction
of a painting by George Cruikshank in the
South Kensington Museum. The lady is
yellow-haired and has a good complexion.
It appears to be a portrait of Mrs George
Cruikshank (nee Widdison), his second wife,
whose preiiomen was Eliza. She could draw, for
there is a vapid but well-finished female head
by her in the South Kensington collection of
her husband's work (No. 10,038-4). She is
not, of course, to be confounded with
Cruikshank's sister Eliza, who designed the
caricature of the Four Prues.
112

ELIZA CRUIKSHANK. From a painting by George Cruik-
shank in the South Kensington Museum, No. 9769,
endorsed "Mrs George Cruikshank E.G. 1884." The
date is supposed to refer to the year of presentation to
the museum.

WE have now to consider Cruikshank as a
supernaturalist. Perhaps there is no role in
which he is more sincerely esteemed. His
simple egoism and self-conceit protected him
from an apprehension of the nothingness of
matter in the eye of a being who is uncontrolled
by the world-idea. He could not conceive
that a mind can impose the idea of a form upon
an inferior mind, or a mind in sympathy with
it : hence his egregious " discovery concerning
ghosts." His world of supernature was a play-
ground of fancy where powers are denoted by
the same symbols which inform us that this
animal can run, and that animal can fly, and
the other animal can think. It is a world of
which the major part is peopled with forms so
lively, gracious and fanciful that Mr Frederick
Wedmore's violent preference of Keene to
Cruikshank seems, in view of it, a kind of
aggressive rationalism. This world, however,

GEORGE CRUIKSHANK

contains the Devil, and on this colliery monster
we will bestow a few glances.

Cruikshank's best idea of the Devil is comedy
of tail. In one of the "Twelve Sketches
illustrative of Sir Walter Scott's Demonology
and Witchcraft " (1830) he shows the archfiend
seated on the back of a smiling elf who poses
as a quadruped to provide a stool. The fiend
is "dighting" an arrow by the light of the
flaming hair of an elf who wears an extinguisher
on his tail, and a cat enthusiastically plays with
the forked appendage of the illustrious artisan.
The dignity of labour is here inimitably mani-
fest. Lovably ludicrous, too, is the Devil
whom Cruikshank presents in The Deil cam
fiddling thro' the Town (" Illustrations of
Popular Works," 1830). " Auld Mahoun's "
forked tail has caught the exciseman by the
cravat. In "Scraps and Sketches" (1832).
Cruikshank has another Devil who plays on a
gridiron as if it were a guitar, to soothe a man
who has been lassoed by his tail. " And if my
tail should make you sad I'll strike my light
guitar." In "A Discovery concerning Ghosts "
(1863) Cruikshank depicts the Devil as lifting
a table with his tail and one hoof. One of the
116

LEGEND OF ST MEDARD. The Saint has slit the bag in
which the fiend is carrying children. From " The Ingoldsby
Legends," 1842.

C;

GEORGE CRUIKSHANK

Devils offered to my readers — he whom St
Medard thwarted — is an example of good
work in a bad setting ; the machine-ruled sky
and " scandalously slurred distance " must be
viewed as symptoms of Cruikshank' s dislike
for Bentley, the publisher of " The Ingoldsby
Legends." The cuts from " The True Legend
of St Dunstan and the Devil" (1848) replace
the perverted Pan — Pan as perverted for the
abolition of his prestige — with a plaintive
ruffian whose horns and hoofs disgrace a very
obvious humanity.

Exit Devil: enter Satan. About 1827
Cruikshank drew him on wood, in the act of
calling on his followers as related by Milton
in "Paradise Lost," Book I., 11. 314-332.
Cruikshank described the drawing referred to,
which was engraved by an unconfident hand,
as "the best drawing that I ever did in my
life." A solitary print of the engraving made
of it sold at Sotheby's for £3, 6s. On a
towering rock, Satan calls up an army which
looks like living ribbon wound up out of the
bottomless pit to the ceiling of the air. His
personality is felt by the effect of his
command, not by his individual appearance..

GEORGE CRUIKSHANK

Michelangelo might have favourably considered
this book-illustration as a bare sketch of a
muster of the damned ; for as one looks at it
he is tempted to give it to half a dozen
painters and "put it in hand."

The naive evangelicism of " The Pilgrim's
Progress " was productive of more of Cruik-
shank's serious monsters. 1827 is the date of
seven woodcuts by him for this work (Reid
3555-61) which do not impress Mr Spielmann ;
they are, however, very neatly executed, and
the drawing of Christian arriving at the Gate is
quite unwarrantably pleasant in its suggestion
of conflict and weariness ending in the bosom
of hospitality. In 1838 Cruikshank contributed
Vanity Fair — an elaborate etching — to a
" Pilgrim's Progress " containing plates by H.
Melville. Vanity Fair is a skilful catalogue
marred by the misnaming of Britain Row. He
produced another Vanity Fair, circa 1854, a
vehement and uninteresting design which, with
companion drawings by him of the same date,
appears in Mr Henry Frowde's edition of " The
Pilgrim's Progress " (1903). These drawings
(only recently engraved) annoyed Mr G. S.
Layard, and me they amuse and touch. They

120

SHOEING THE DEVIL. From Edward G. Flight's "The True
Legend of St Dunstan and the Devil," 1848.

THE DEVIL SIGNING. From Edward G. Flight's « The
True Legend of St Dunstan and the Devil," 1848.

GEORGE CRUIKSHANK

show that Cruikshank could draw the face of a
man whose metier is goodness, . . . and that
Apollyon — a veritable creature of tinker-
craft in Bunyan's text — was utterly beyond
Cruikshank's power to shape according to the
crooked splendour of his name. One must not
forget that a pious convention of absurdity is a
trap for the critic and the humorist alike. I
feel that Cruikshank almost loved Bunyan.
Witness the large coloured print inscribed in
his last decade, " Geo. Cruikshank 1871,"
where Christian — a Galahad of knightliness —
passes through the snake-afflicted valley of the
Shadow of Death.

Exit the Pilgrim, and re-enter the Devil.
Cruikshank made remarkable successes in two
series of illustrations wherein this magnate
assumes the form of a man of our world. The
books in which they appear are "Peter
Schlemihl" by Adelbert von Chamisso (1823)
and "The Gentleman in Black" by J. Y.
Akerman (1831). To Chamisso the Devil is " a
silent, meagre, pale, tall elderly man" wear-
ing an " old-fashioned grey taffetan coat "
with a " close-fitting breast-pocket " to it, and
he is willing to buy Peter's shadow. Meagre
125

GEORGE CRUIKSHANK

and close-fitting is Cruikshank's idea of him ;
he is only substantial enough to give posture
and movement to his clothes. That is a
beautiful etching where he is folding Peter's
shadow as a tailor folds a suit and Peter is
unaware of the terrible oddity of a foot on the
ground having for shadow a foot in the air —
a foot no longer subordinate to Peter who
will tread the earth in despair when he is a
shadowless man ; and that is a marrow- thrilling
etching where Peter's tempter stands casting
two shadows and flourishing a document promis-
ing the delivery of Peter's soul to the bearer
after its separation from Peter's body. There is
a haunting cold brightness about the Schlemihl
etchings. If you see them without a sensation
of their difference from the work of any body
except him who made them, your acquaintance
includes a prodigy, a Cruikshank plus x. To
J. Y. Akerman the Devil was "a. stout, short,
middle-aged gentleman of a somewhat satur-
nine complexion" who "was clad in black"
and ff had a loose Geneva cloak . . . of the same
colour." Like Schlemihl's customer he pays
with a bottomless purse and in the cuts, en-
graved by J. Thompson and C. Landells, we see
126

PETER SCHLEMIHL WATCHING THE CLOCK
From "Peter Schlemihl," 1823. Copies of the
book dated 1824 are also accepted as of the first
edition.

GEORGE CRUIKSHANK

him a grave humorous and sinister person,
who after his urbanity has been shaken by
the cleverness of the law, is exhibited with-
out warrant of narrative, as Old Horny on a
gibbet. I presume the above-mentioned J
Thompson, by the way, to be the John
Thompson whom Cruikshank describes at the
foot of a letter from this engraver dated "Feb.
7, [18]40," as "the Great, the wonderful
Artistic Engraver on wood — and who used
to engrave my drawings as no other man
ever did."

After the Devil comes Punch, who in the
puppet play destroys him. Punch is only by
irony a nursery character. He represents the
comic genius of murder. A Hooligan may
feel like a Pharisee after looking at him. His
coarse materialism would affront a pierreuse.
Cruikshank drew Punch as early as 1814 in
a plate, satirising a fete given by the Duke
of Portland on the occasion of the baptism
of an infant marquis. The plate is entitled
" Belvoir Frolic's " [sic] and appears in No. 4 of
"The Meteor." A very long-nosed Punch
extols the beverage bearing his name, and
his infant son falls into a punch-bowl while
I29

GEORGE CRUIKSHANK

being baptised by a drunkard. It was not,
however, till 1828 that a reasonable joker
could call Cruikshank's great hit a punch.
That date is on the title-page of ef Punch and
Judy " edited by J. Payne Collier, for whose
publisher (S. Prowett) Cruikshank drew the
scenes of the immortal puppet-play as pro-
duced by Piccini, who defied any other puppet-
showman in England to perform his feat of
making the figure with the immoderate neck
remove its hat with one hand. Thanks to
Piccini, then, Cruikshank's Punch is the real
Punch — a goggling miscreant, whose hump is
a rigid and misplaced tail and whose military
hat, above a crustacean's face, completes a
rather melancholy effect of mania. The con-
ductor of "George Cruikshank's Omnibus"
confessed to feeling " that it was easy to
represent " Punch's tf eyes, his nose, his mouth,
but that the one essential was after all wanting
— the squeak." Cruikshank was barely just to
his pencil. As one looks at his Punch one
feels that such a being is either a squeaker
or a mute. As for the Devil, whose role is
so humiliating in the Punch tromedy (as a
neologist might call it), he is of an aspect
130

PUNCH THROWING AWAY THE BODY OF
THE SERVANT. From "Punch and Judy,"
1 828 (early proof). The portrait of George Cruik-
shank below his initials does not appear in the
book.

GEORGE CRUIKSHANK

pitiably mean — like a corpse attired in river
mud.

After this, it is impossible not to realise the
enormity of the compliment paid by the hand
of Cruikshank (serving the imagination of
G. H.) to Napoleon in that publication of
August 1815, rashly stated by Mr Bruton to
be the finest Napoleonic caricature, which
depicts the imperial exile of St Helena as
the Devil addressing a solar Prince Regent.
Here the Devil gets the credit of a handsome
face and Napoleon the debit of cloven feet.

Cruikshank's representation of the Devil as
Old Nick has the absurd merit of recalling
his idea of the servant of a good Peri ! Com-
pare The Handsome Clear-starcher (" Bentley's
Miscellany/' 1838) with The Peri [, the Djin]
and the Taylor ("Minor Morals, Part III.,"
1 839). Both these ornaments of my sex have
white eyes windowing a black face, and the
former, with heraldic sulphur fumes above
his figure of Elizabethan dandy, is, if we do
not date him, a horrible gibe at the feminine
Satan of " sorrows."

Is there, the reader may now ask, not
unmindful of the Miltonic drawing already

c* 133

GEORGE CRUIKSHANK

described^ no Satan among Cruikshank's
Netherlander, to show that he saw the
sublime of evil as clearly as he saw Fagin?
Alas for catalogues raisonnes ! for if it were
not for G. W. Reid we could not point the
querist to Cruikshank's Lucifer in his illustra-
tions on wood to George Clinton's " Memoirs
of the Life and Writings of Lord Byron "
(1825). Of "a shape like to the angels, yet
of a sterner and a sadder aspect of spiritual
essence," not less beauteous than the cherubim,
Cruikshank, with or withont an accomplice in
another engraver, makes a black and white
Moor, jointed like a Dutch doll, with wings
which an Icarus would distrust.

Perhaps the most impressive conception of
the author of unhappiness which Cruikshank
executed was that which he owed to the
imagination of Mrs Octavian Blewitt. In his
last published etching, The Rose and the Lily
(1875), he depicts, by her instruction, a lake
out of which appears, like an islet, the weed-
covered top of a vast head, the eyes of which
are the only visible features. The lake is
the abode of "The Demon of Evil" and his
eyes of bale are upturned to regard a fairy

'34

GEORGE CRUIKSHANK

queen and her suite who hover over a rose
and a lily.

Cruikshank's favourite among semi-infernal
or hemi-demi-semi celestial characters would
seem to have been Herne, the demon of
Windsor Forest, whom legend derives from a
suicide. Our illustration of Herne appearing
to Henry VIII. (1843) is sombre and grandiose.
The artist recurred to Herne again in one of
his beautiful etchings for " The life of Sir John
Falstaff" by R. B. Brough (1858). Falstaff as
Herne, with antlers on his head, lies prone
beneath the great riven oak which is called
Herne's oak, because human Herne is supposed
to have hanged himself from a bough of it.
Fairies, depicted by their lover, have taken into
their invisible web of glamour the grossness
of Falstaff, and to me the etching which
contains in harmony so tragic a tree, so
gluttonous a man, and the only angels that
shame can love without terror is not an illus-
tration of Shakespeare but a vision of every-
body's heaven. For if it is an illustration of
Shakespeare, then are these no fairies but
Mistress Quickly, Anne Page and other
actresses, in a punitive and moralising mood !

135

GEORGE CRUIKSHANK

The last appearance of Cruikshank's Herne is
in a drawing, done when the artist was eighty-
three, for "Peeps at Life" (1875), in which
the demon rides through Windsor Forest with
a monk behind him.

It is now time to say a few words about the
Cruikshankian ghost. About the year I860,
Cruikshank offered £100 to anyone who should
show him a ghost " said to have been seen
frequently in the neighbourhood of some
Roman Catholic institution near Leicester."
No one claimed the money, and Cruikshank
remained a religious materialist, charmingly
boyish in his amusement over the ghosts of
tears and dirt. His natural idea of a ghost
was comic in the way of a wise old world that
taxes pain and wrath for humour. His designs
for Part II. of "Points of Humour" (1824.)
include a vision of spirits discharged from
their bodies by the ministrations of a pompous
doctor, who holds his stick against his mouth
because Cruikshank condemned the use of
" the crutch as a toothpick. The ugliness of
these spirits is not excelled by Cruikshank's
Giles Scroggins, in vol. i. of "The Universal
Songster" (1825), — a spook whose waving

136

HERNE THE HUNTER APPEARING TO HENRY VIII.
(" Windsor Castle "). From " Ainsworth's Magazine," vol. iii., 184

GEORGE CRUIKSHANK

hands like bewitched gloves, exultant toes
and nightcap tipsy as a blown flame, are duly
noted by Molly Brown. Folklore had a refining
influence on Cruikshank when, for Scott's
" Demonology and Witchcraft," he etched, in
1 830, Mrs Leckie, a white-aproned ghost who,
by a miracle of Scotchness, is perfectly
decorous as she kicks with a high heeled shoe
the doctor of physic who " shewed some desire
to be rid of her society." Cruikshank' s chef
d'oeuvre of ghost-humour is an etching for
Captain Glascock's "Land Sharks and Sea
Gulls" (1838). This triumph of pictorial
anecdote confronts us with Ann Dobbs, who
has materialised her head and hands for the
purpose of exhibiting, with a proper show of
accusation, to a whimpering sailor, whose
pigtail has risen in homage to her, (e the
feller piece of the broken bit" of her tomb-
stone, which he had stolen for a holy- stone to
clean decks with. After this, the reader may
be surprised to learn that a ghost, produced
by Cruikshank for "The Scourge " of August
1815, was serious enough to be precautiously
blacked out before the plate entitled A
Financial Survey of Cumberland, Or the Beggar s

GEORGE CRUIKSHANK

Petition, was put into general circulation. It
is the gho^t of Sellis, the Duke of Cumberland's
valet, who is made to accuse his earthly master
of murder, by these words " Is this a razor I
see before me ? Thou canst not say I did it."
Of that other serious ghost, St Winifred in
"Guy Fawkes" (1840), enough has been said.
Her dullness is absolutely unmystical, and it
is a relief to turn from her to look at The Holy
Infant, that prayed as soon as he was born
("Catholic Miracles," 1825), an exquisitely
droll sketch, about as large as a penny, of
"intense" chubbiness in a hand basin.

Though sympathy with men and women
did not make Cruikshank courteous to ghosts,
he was led by the credulity and experience of
his childhood to be affectionate to fairies and
almost patriotic in his feeling about the magical
countries in which they dwell. In a note to
" Puss in Boots " he informs us that his nurse
told him when he was "a very little boy " that
the fairies "had houses in the white places "-
i.e. fungi — in the corners of cellars. In cellars
he accordingly looked for them, "and certainly
did . . . fancy " that he saw " very, very tiny
little people running in and out of these little
140

'f

From " Comic Composites for the Scrap-Book," 1821.

GEORGE CRUIKSHANK

white houses" — i.e. fungi— and attributed any
power he possessed of drawing or describing
a fairy to his nurse's communications and his
visions in cellars.

Like a sword-swallower I saw in Bel-
fast, I will ask you to "put your hands
together/' for the anecdote just related is
corroborated by the charm of his fairy draw-
ings.

What happened when Cruikshank went into
cellars is symbolical of poetry. He saw what
was not there by that creative touch of mind
which transforms an object by increasing its
similitude to something else. In Comic Com-
posites for the Scrap Book (1821), we have
intelligent human creatures suggested by
arrangements of household implements. As I
look at the mundatory erection here repro-
duced, I anachronistically hum Stephen
Glover's " March composed for Prince Albert's
Hussars." It is, however, less brilliant than the
aldermanic bellows and the doctor (with a
mortar for body, cottonwool for hair and labels
for feet), to whom he states his symptoms in
" Scraps and Sketches " (1831), for they amuse
the satirist even at this date when gluttony

GEORGE CRUIKSHANK

is merely not moderation and bored sapience
is merely not sympathetic wisdom.

Cruikshank then had one great qualification
for illustrating fairy tales : he could animate
the inanimate. Let us now follow his career
as a fairy artist, beginning with his first great
success.

In 1822 appeared a post-dated volume of
"German Popular Stories . . . collected by
M. M. Grimm." A companion volume was
published in 1826, and both books were adorned
by the hand of George Cruikshank. Except-
ing two much-admired German leprechauns or
fairy cobblers in one of Cruikshank's twenty-
two etchings, they do not present a fairy worth
smiling at, and these cobblers, boundlessly
delighted by a present of clothes, are, of
course, very far from being of the angelic
elite of Fairyland, as drawn by Sir Joseph Noel
Paton for Mrs S. C. Hall. But Fairyland is in
the imagination of democracy, and he is a
good patriot of that countiy who amuses us
with its " freaks," for they are dear to the hoi
polloi which appreciate novelty more than per-
fection. Cruikshank in his Grimm mood is for
the " living drollery " which cured Sebastian's
144

THE GOOSE GIRL. From "German Popular Stories," vol. ii., i

GEORGE CRUIKSHANK

scepticism concerning the phoenix and the
unicorn. He rejoicingly presents a nose as
long as a garden hose — a nose worthy of the
beard which travels from page 6 to page
7 of his " Table-Book" (1845). He refreshes
us with the humorous pleasure of the giant
inspecting Thumbling on the palm of his
hand ; and he convulses us with the vocal
display of the ass, dog and cat which plunge
through the glass of a window into the robbers'
room. Ruskin said of these etchings that
they " were unrivalled in masterfulness of
touch since Rembrandt ; (in some qualities of
delineation unrivalled even by him) " ; to that
eulogy I can only add that they are inspiriting
because they are candid and vivid, and show
that realism can be on the side of magic.

Passing without pause some tiny cuts, upon
which children would pounce for love of gnomes,
in "The Pocket Magazine" (1827, 1828),
we arrive again at Cruikshank's sketches for
Scott's " Demonology and Witchcraft " (1830),
and inspect elves and fairies, barely prettier
than mosquitoes, annoying mortals. Worry is
incarnate in a horizontal man who is supported
in and drawn through the air by elves, directed

'47

GEORGE CRUIKSHANK

by two drivers, one on each of his boots.
Beautiful is the contempt for herrings of an
elf standing on a plate which a comrade is
about to smash with a hammer in the presence
of a cheaply-hospitable (and sluttish) housewife
whom a dozen elves have pulled downstairs by
her feet.

Fables which invent sorrow to prevent it
can only be classed as fairy-tales by a sacrifice
of the mot juste, which I make in order to call
attention to an exquisite quartet of etchings
by George Cruikshank, illustrating Richard
Frankum's verses entitled " The Bee and the
Wasp" (1832). No hand but his who drew
the shadow-buyer in Peter Schlemihl could
have drawn the hair-lines of the criminal
insect who mocks the drowning bee in the
third of these etchings. So pleased and
delicate a malignancy is expressed in him
that he figures to me as a personification of
evil, and I am disagreeably conscious of smiling
to think that, because he speaks and is seen,
he is a gentleman compared with a trypanosome
or a bacillus coli.

A bee — but a superbee — figured in the
next fairy book illustrated by Cruikshank. In
148

AMARANTH "THE EVER YOUNG " IS CARRIED

TO COt^ALLION BY THE BEE'S MONSTER

STEED. From "The Good Genius that Turned

Everything into Gold," by the Bros. Mayhew, 1847.

C/

GEORGE CRUIKSHANK

his designs for " The Good Genius that Turned
Everything into Gold" (1847) he showed for
the first time an ambition to idealise magic.
The idea that power exists in beings of familiar
shape and wieldy dimensions to build palaces
and fleets without mistakes, without plans
and adjustments, without the publication of
embryos behind hoardings — to build them
without economy and sacrificial fatigue — this
is the breathless poem of the crowd. The
Brothers Mayhew gave this idea to Cruikshank,
and one at least of his etchings for their
story — the palace emerging from rock and
arborescence— shows that he almost objectified
it. Thus (unconsciously) did he atone for
that neglect of opportunity which allowed him
to deck the magical and tender, the deep and
lustrous fiction of E. T. W. Hoffmann, the in-
spired playmate of ideas that rock with laughter
and subdue with awe, with nothing better than
a frigidly humorous picture of a duel with
spy-glasses.

In 184-8 an incomplete and refined transla-
tion of " II Pentamerone " appeared with pretty
and sprightly designs by Cruikshank. These
designs show a more direct sympathy with

GEORGE CRUIKSHANK

juvenile taste than his famous etchings for
"German Popular Stories." With shut eyes
one can still see his ogre swearing at the
razor- crop, and his strong man marching off
with all the wealth of the King of Fair- Flower,
while the champion blower with one good
blast makes bipeds of horses and kites of
men. Nennella stepping grandly out of the
enchanted fish to embrace her brother is dear
to an indulgent scepticism. There were beauti-
ful fields and a fine mansion inside that fish and
his toothful mouth is but a portico of Fairyland.
Tails not having been invented merely to
mitigate the sorrows of Satan, Cruikshank
had some more of these appendages to draw
when with "Kit Barn's Adventures" (184-9)
he entered the fairyland of Mrs Cowden Clarke.
The very rhetorical mariner of that story is
remembered for the sake of the tails of rner-
children twining about his legs in the frontis-
piece to it, and human children allow their
Louis Wain to wane for a minute as, with Kit
Bam, they look at Cruikshank's tortoiseshell
cat, ruffed and aproned, laying the table while
Captain Capsicum, horned and gouty, urbanely
watches her,

152

GEORGE CRUIKSHANK

Naturally Cruikshank desired to associate
himself permanently with fairy stories better
known in England than the name of any
folklorist or Perrault D'Armancourt himself.
Rusher had published,, circa 181 4, "Cinderella "
and " Dick Whittington " with cuts " designed
by Cruikshank/' whose prenomen was or was
not George ; and to George Cruikshank is
ascribed by Mr Edwin Pearson some early cuts
for " Mother Hubbard and her Dog." Each
of these illustrations could be covered with a
quartet of our postage stamps and only those
for " Mother Hubbard/' which are droll and
tender, possess more than an antiquarian
interest. In 1846, in twelve designs built
round the title " Fairy Songs and Ballads for
the young ... By O. B. Dussek . . . /'
George Cruikshank illustrated " Dick Whitting-
ton." "Jack and the Beanstalk/' etc., and was
lively and pretty in a wee way. These
were trifles, however, and Cruikshank was
ambitious. In 1853-4 and 1864 he flattered
his ambition by the issue of " George Cruik-
shank's Fairy Library." Unfortunately Ruskin
was displeased with the earlier issues of this
"library," for in 1857 he forbade his disciples

155

GEORGE CRUIKSHANK

to copy Cruikshank's designs for " Cinderella/'
" Jack and the Beanstalk " and " Tom Thumb "
[sic] as being "much over-laboured and con-
fused in line." But on July 30, 1853, Mrs
Cowden Clarke begged Cruikshank to allow
her to thank him in the name of herself " and/'
writes she, "the other grown-up children of
our family, together with the numerous little
nephews and nieces who form the ungrown-
up children among us, for the delightful treat
you have bestowed in the shape of the 1st No.
of the ' Fairy Library.' " This was the maligned
"Hop-o'-my-Thumb," thepictures of which pos-
sess the charm of the artist's " Pentamerone."
None of Cruikshank's ogres are as horrible as
J. G. Pinwell's man-eating giantin"The Arabian
Nights," and so the ogre in his " Hop-o'-my
Thumb " is merely a glutton with a knife, but
what a passion of entreaty is expressed in the
kneeling children at his feet ! The seven
leagued boots are worth all Lilleyand Skinner's
as, formally introduced, they bow before the
smiling king. The architectural effect of the
design which, as it were, makes a historian of
a tree is admirable. The beanstalk in No. 2
is a true ladder of romance ; and, seeing it, I

156

GEORGE CRUIKSHANK

think that Cruikshank escaped from the re-
pugnant vulgarity of G. H. on that May or
June day of 1815 when he drew The Pedigree
of Corporal Violet (alias Napoleon) as a per-
pendicular of flowers and fungi and dreamed
of the fairy seed he would sow for children.
In "Jack and the Beanstalk" there is not
only a fairy plant but a real English fairy
gauzy-winged, tiny, with a wand as fine as a
needle. Yet Ruskin was displeased, and we
may define the fault which caused his dis-
pleasure as a finicky unveracity about shade
and textures.

In 1866, however, Cruikshank executed
two plates for Ruskin ; one of them illustrated
" The Blue Light " from Grimm, the other
showed the children of Hamelin following the
Pied Piper into the mountain ; and in the
same year he almost paralleled the success of
his fairy cobblers in Grimm by an etching of
Pixies engaged in making boots, which he did
for Frederick Locker, afterwards Locker-
Lampson. In 1 868 Cruikshank made the large
and beautiful etching entitled " Fairy Connois-
seurs inspecting Mr Frederick Locker's Collec-
tion of Drawings." Anyone who has read " My

159

GEORGE CRUIKSHANK

Confidences" (1896) will acknowledge that
it was a happy thought to invite the Little
People into Mr Locker-Lampson's library, for
this bibliophile, so humorous and elegant, so
ready with the exact Latin quotation needed
to civilise perfectly the shape of an indecorum,
was in essence a child whose toys were con-
secrated to the fairies by his purity in loving
them.

We will take leave of Cruikshank as a
fairy artist by a look at a sketch for his
picture The Fairy Ring. He painted the
picture, which is his best oil-painting, in 1855
for the late Henry Miller of Preston, for .£800.
The sketch referred to sold at Sotheby's in
1903 for £25, 10s. This sketch— a painting—
I saw at the Royal Aquarium, as in a bleak
railway station without the romance of travel.
The Fairy King stands on a mushroom about
which rotate two rings of merrymakers
between which run torch bearers. They are
mad, these merrymakers, and madness is
delight. Hard by, a towering foxglove leans
into space, bearing two j oy ous sprites. Gigantic
is the lunar crescent that shines on the scene ;
it is a gate through which an intrepid fairy
l6o

GEORGE CRUIKSHANK

rides a bat above the revels. In this im-
pressionistic sketch, Cruikshank shows himself
participant in the mysterious exultation of the
open night where man, intruding, feels neither
seen nor known. The Fairy Ring belongs
to the poetry of humour. It perorates for a
supernaturalist whose fashionable ignorance,
touched with less durable vulgarity, blinded
him to such visions as, in our time, the poet
"A. E." has depicted. Looking at Cruik-
shank's supernatural world of littleness and
prettiness, of mirth, extravagance, and oddity,
we feel in debt to his limitations.

VI

THE humour of George Cruikshank deserves
separate consideration, because it is essentially
the man himself. Despite a technical excel-
lence so peculiar that, according to the author
of Number 1 of "Bursill's Biographies," the
engraver Thompson "kept a set of special
tools, silver-mounted and with ivory handles,
sacred for " Cruikshank's designs, his sense of
beauty was not eyes to him. Women he
usually saw as lard or bone, and this strange
perversity of vision and art differentiates him
from the moderns by more than time. For
instance, the women presented by Mr S. D.
Ehrhart and O'Neill Latham (a lady-artist), to
mention only two modem humorists, materialise
an idea of beauty in humour which was as
foreign to Cruikshank as apple-blossom to a
pomme de terre.

Humour with Cruikshank was elemental.
A joke was sacred from implication ; it was
162

GEORGE CRUIKSHANK

self-sufficient, vocal in line and curve, per-
cussive. He was a contemporary of Douglas
Jerrold, who was humorous when he called a
town Hole-cum-Corner. He was a con-
temporary of Thomas Hood, who was humorous
when he announced that

" from her grave in Mary-bone
They've come and bon'd your Mary."

He was in that " world of wit " where they
kept a nutmeg-grater on the table in order to
say, when a great man was mentioned, " there's
a grater." He was in a world where profes-
sional humour was perversely destructive of
faith in imagination.

But what is humour? Late though the
question be, it should be answered. Hum-
our, then, is the ability to receive a shock
of pleasant surprise from sounds and appear-
ances without attributing importance to them.
As the proof of humour is physiological, its
appeal to the intellect is as peremptory as
that of terror. It is a benignant despot which
relieves us from the sense of destiny and
of duty. Its range is illimitable. It is vic-
toriously beneath contempt and above worship.
cm 165

GEORGE CRUIKSHANK

Cruikshank was a humorist who could laugh
coarsely, broadly, selfishly, merrily, well.
Coarseness was natural to him, or he would not
have selected for a (suppressed) illustration in
" Italian Tales " (1824) a subject which mingles
tragedy with the laughter of Cloacina. One
can only say that humour, like a sparrow,
alights without regard to conventions. The
majority can laugh with Rabelais, though they
have not the idealism which created Theleme.
Jokes that annoy the nose are no longer
tolerable in art, but in Cruikshank's time so
wholesome a writer as Captain Marryat
thought Gillray worth imitating in his transla-
tion of disease into terms of humour. Hence
The Headache and The Cholic (1819), signed
with an anchor (Captain Marry at' s signature)
and etched by Cruikshank, follow The Gout by
Gillray (1799)- The reader may well ask if
the sight of a hideous creature sprawling on a
man's foot is humour according to my defini-
tion. I can only presume that in what Mr
Grego calls the "port-wine days," Gillray's
plate was like sudden sympathy producing some-
thing so absolutely suitable for swearing at,
that patients smiled in easy-chairs at grief,

166

EXCHANGE NO ROBBERY. From "Points of Humour,"
1823. The unfaithful wife has concealed her lover in the clock.
The husband, who has unexpectedly returned, devours bacon
at i A.M., while she is in an agony of apprehension,

GEORGE CRUIKSHANK

Broad humour has an eye on sex. The
uncle who, on being asked at dinner for an
opinion on a lady's costume, observes that he
must go under the table to form it, is a type
of the broad humorist in modern life. Cruik-
shank had none of that tenderness for women's
clothes which in modern representation removes
altogether the pudical idea from costume and
substitutes the idea of witchery by foam of lace
and coil of skirts. His guffaws and those of
Captain Marryat and J. P***y, whose invention
exercised his needle, at the Achilles in Hyde
Park, in 1822, are vexatious enough to make
one wish to restore all fig-leaves to the fig-
forest. It is not possible for a man with an
indefinite and inexpressible feeling for woman
to laugh like that. Hearing his laughter we
know that Cruikshank's humour about woman
must always be obvious.

It is, and yet it is not measured by the
height of her hat as he depicted it in 1828,
when he contributed to that long series of
jokes which culminate in Jan Linse's girl at
the theatre who will not take her hat off
because, " mamma, if I put it in my lap I can't
see myself." In the annals of absurdity is
171

GEORGE CRUIKSHANK

there anything more worthy to be true at the
expense of the British Navy than Cruikshank's
picture of the chambermaid confronted with
the leg which she has mistaken for a warming-
pan ? Another woman, whom Cruikshank
compels us to remember by force of humorous
idea, is to be found in Points of Humour (1823).
She is the doxy in " The Jolly Beggars," sitting
on the soldier's lap. We see her while she
holds up

" her greedy gab
Just like ae aumous dish/'

The soldier has lost an arm and a leg, but
his face is the face of infatuation and her lips
are the lips of lust. The toes of her bare feet
express pleasure longing for ecstasy. I write
seriously : they are very eloquent toes. There
is a fire near the amorous pair, and the dog
basking by it, uninterested in them, is a token
of peace unpried upon. Her left hand grasps
a pot of whiskey. She is in heaven. Indeed
there is too much heaven in the picture for
me to laugh at it. Behind the incongruity
which clamours for laughter is the magic of
drink reshaping in idea a half-butchered man
and reviving the fires of sex.
172

GEORGE CRUIKSHANK

After this we glide politely from women as
they blossom in the drollery of Cruikshank.
Jenny showers "pills, bolus, julep and apozem
too " on the physicians who would have
exenterated her (vide "The New Bath Guide/'
1830). The "patent washing machines" re-
member their sex at the approach of Waverley
(vide " Landscape- Historical Illustrations/'
1836), and remind us that in 1810 T. Tegg
published a less refined Scotch Washing over the
signature of Cruikshank. Nanse sheds the light
of a candle upon the corpse of the cat compressed
by a heavy sitter (vide "The Life of Mansie
Wauch/' 1839). The squaw "in glass and
tobacco-pipes dress'd " evokes lyrical refusal
from the Jack who has sworn to be constant
to Poll (vide " Songs, Naval, and National,
of the late Charles Dibdin," 1841). Lady Jane
Ingoldsby smilingly — with lifted hand for note
of interjection — allows her attention to be
directed to the half of her drowned husband
which was not "eaten up by the eels" (vide
"Bentley's Miscellany," 1843). William's
widow contemplates with fury the sailor
upon whose nose has alighted her dummy
babe (vide "The Old Sailor's Jolly Boat,"
175

GEORGE CRUIKSHANK

184-4); and General Betsy gobbles her novel
in a chaotic kitchen, oblivious of the horror
of her mistress (vide "The Greatest Plague in
Life/' 1847).

In all this pageant of absurdity is wanting
the special touch which surprises the spectator.
The emotions of the women are rendered as
with a consciousness that they are a merchan-
dise of art and "in stock."

The caricaturist of mankind, to immortalise
his work, must haunt us with physiognomy.
Thus Honore Daumier in Le Bain Chaud
haunts us with the burlesque heroism in the
face of a man about to sit down in water
which pretends to scald him. Sir John
Tenniel haunts us with the complacent
slyness of Dizzy bringing in the hot water
for February 1879 to that distrustful lie-abed
John Bull. Charles Dana Gibson haunts us
with the charmed vanity of an aged
millionairess sitting up, bald and bony, in a
regal bed, with her coffee-cup arrested in
hand by the fulsome puff of her person and
adornments read to her by her pretty maid.
George Du Maurier haunts us with the
freezing question in the face of the knight

176

Details from the Plate entitled Heads of the
TabUi in " George Cruikshank's Table-
Book," 1845.

GEORGE CRUIKSHANK

who has permitted himself to crack an empty
eggshell on the " Fust o' Hapril."

How does Cruikshank stand as a creator of
humorous physiognomy? The answer is not
from a trumpet. He invented crowds of
people who seem merely the fruits of formulae,
and in comedy the simple application of the
science of John Caspar Lavater is weak in
effect, since laughter is tributary to surprise.

Compare Daumier's man in hot water with
Cruikshank's Trotting (a similar subject in "The
Humourist," vol. iii., 1820), and one sees the
difference between mere Lavaterism and
emotion detected with delight. Compare
Daumier's facetious ruffian asking the time
of the man he intends to rob with almost
any ruffian in Cruikshank's humorous gallery
and one can only say that, in effect, one
drew him to haunt the mind ; the other to
bore it. One ruffian surpasses his type
without deserting it ; the other is the type
itself. Here and there, however, Cruikshank
creates an individual who is more than his
type without being divergent from it. Do
we find such a one in the serious eater in
Hope (" Phrenological Specimens," 1826), in

'79

GEORGE CRUIKSHANK

whose bone, already as innutritions as a tooth-
brush, his dog confides for sustenance? I
think so, because I see him when I think of
appetite as of tragedy. H umour accepts him
in deference to her idea that there is nothing
that cannot be laughed at, and she is worthy
of deification when she goes down, down,
down, laughing where even her worshippers
are mute.

I doubt if Cruikshank twice excelled in
respect of authenticity in humour the host
and guest whom he presented in the re-
produced subjects from Heads of the Table
(1845). Humour ascends from his Hope to
them as to a heaven of animals from a purga-
torial region. That even what I have called
Cruikshank's Lavaterism can be amusing
is proved by his portrait of Socrates at
the moment before he said "rain follows
thunder."

We owe probably to Cruikshank's inveterate
love of punning the capital study in disdain as
provoked by envy exhibited in one of the lions
in The Lion of the Party (1845). Of his animal
humour I shall have more to say : these lions
are more human than many of his representa-
1 80

From " A Comic Alphabet," 1836. See Pope's "The Wife of
Bath "(after Chaucer), II. 3^7-392.

GEORGE CRUIKSHANK

tions of homo sapiens ; they need no foot-
line.

The student of Cruikshank's humour must
follow him through many volumes in which
his pencil is subservient to literature ; and in
this journey he will often open his mouth to
yawn rather than to laugh. The professional
humorist, like the professional poet, is the prey
of the Irony that sits up aloft ; and Cruikshank
was not an exception. Indeed one may say
of some of his crowded caricatures that one
has to wade through them. In the humorous
illustration of literature his work is seldom
risible, but it usually pleases by a combination
of neatness and energy.

Despite his intense egotism he ventured to
associate his art with the works of Shakespeare,
Fielding, Smollett, R. E. Raspe, Cowper, Byron,
Scott, Dickens, Goldsmith, Douglas Jerrold,
Thackeray, Le Sage, and Cervantes. These
names evoke a world of humorous life in
which is missing, to the knowledge of the
spectator, only the humour which shines in
jewels of brief speech and rings in the heavenly
onomatopoeia of absurdity. Lewis Carroll and
Oscar Wilde are decidedly not of that world,

183

GEORGE CRUIKSHANK

though Raspe, by a freak of irony, graced his
brutal pages with lines which the snark-hunter
might have coveted, and Smollett's elegance
in burlesque gravity is dear to an admirer of
" The Importance of being Earnest."

For Shakespeare, Cruikshank seems to have
felt a tender reverence. As early as 1814 we
find him drawing Kean as Richard III., and
Hamlet for J. Roach, the publisher of "The
Monthly Theatrical Reporter" ; 1815 is the date
of a lithograph of Juliet and the Nurse published
by G. Cruikshank and otherwise unmemorable ;
in 1827 he made one of his " Illustrations of
Time, "a vivacious portrait of Puck about to girdle
the earth. In 1857-8 came the Cruikshankian
series of etchings for R. B. Brough's " Life of
Sir John Falstaff." This series exhibits great
skill and conscientiousness ; the critic of " The
Art Journal" (July 1858) was able to suppose
them "actual scenes." Falstaff has a serene
and majestic face ; his bulk is too dignified
for the scales of a showman ; one understands
his aesthetic abhorrence of a " mountain of
mummy." Humour cancels his debt of shame
for cowardice, and well would it have been
if that rebellious Lollard, Sir John Oldcastle,
184

GEORGE CRUIKSHANK

the original of Falstaff, could have looked into
FalstafTs roguish eyes as he reclined on the
field of Shrewsbury and peeped at his freedom
from all the bigotries which threaten and
terrify mankind. Cruikshank unconsciously
imparts this thought, but it is with conscience
that he is amiable to Falstaff, who, begging,
hiding, shamming, "facing the music," and
dying, is his pet and ours by grace of his
refined and beautiful art.

We meet Cruikshank's Falstaff again in the
drawing entitled The First Appearance of William
Shakespeare on the Stage of the Globe (January
1 863). Here we have the elite of Shakespeare's
creations in a throng about his cradle. Titania
and Oberon are at its foot, as though he owed
them birth ; Touchstone and Feste try to
catch a gleam of laughter from his eyes ;
Prospero waves his wand ; Othello gazes with
hate at the guarded enchanter, more potent
than Prospero, who is to bring his woe to
light ; Romeo and Juliet have eyes only for
each other. Richard the Third is there, sadder
than Lear ; the witches who prophesied the
steps of Macbeth towards hell gesticulate
hideously by their cauldron ; and Falstaff,

187

GEORGE CRUIKSHANK

cornuted as becomes the "deer" of Mrs Ford,
smiles at a vessel that reminds him, as do all
vessels,, of sack and metheglins. There is
charm and beauty of ensemble in this picture,
which I have described from a coloured drawing
in the South Kensington Museum made by its
designer in 1864-5. I know nothing that
suggests more forcibly the fateful ness hidden
in the inarticulate stranger who appears every
day in the world without a history and without
a name.

Smollett and Fielding, both novelists who
present humour as the flower of annoyance
and catastrophe, were hardly to be con-
gratulated when Cruikshank innocently showed
them up in " Illustrations of Smollett, Fielding,
and Goldsmith " (1832). In both the reader
of literature discerns a gentleman. In
Fielding he sees a radiant man of the world
from whom literary giants who succeeded him
drew nutriment for ambition. Both Smollett
and Fielding have heroines, and touch men in
the nerve of sweetness, and fell them with
love. But Cruikshank cared naught for their
women, though he reproduced something
equivalent to the charm of Shakespeare's
188

ADAMS'S VISIT TO PARSON TRULLIBER. Frontispiece
to" Joseph Andrews," 1831. The book is dated 1832. This
is one of the plates in " Illustrations of Smollett, Fielding,
and Goldsmith " (1832).

GEORGE CRUIKSHANK

"Merry Wives." When first he went to
Smollett, it was for a Point of Humour (1824),
which centres in an " irruption of intolerable
smells" at dinner. The point pricked, as one
may say, but it was blunt in effect compared
with that of a later artist's drawing of
Columbus and the Egg or that of Cruikshank's
cook swallowing to order in Land Sharks and
Sea Gulls (1838). The really vivid picture is
recognised by a lasting imprint on a mind
which is incapable of learning Bradshaw by
heart, and Cruikshank's drawings for Smollett
are reduced in my mind to Mrs Grizzle extract-
ing three black hairs from Mr Trunnion, and his
drawings for Fielding are reduced into the
ruined face and rambling fat of Blear-eyed Moll.
Those who will may compare the Smollett
of Rowlandson with that of Cruikshank. The
comparison may determine whether a dog is
funnier while being trodden on or immediately
after, and shows the indifference of Rowlandson
to his artistic reputation. Cruikshank's
attempts to illustrate Goldsmith are few and,
as a series, unsuccessful. The reproduced
specimen is a fair example of his realistic
method. It exhibits the blackguard's sense
191

GEORGE CRUIKSHANK

of absurdity in the Christian altruism which
paralyses the nerves of the pocket — sensitive
usually as the nerves of sex — and which
tyrannises over the nerves of pride.

Fisher, Son, & Co., the publishers of
Cruikshank's illustrations of the "Waverley"
novels (1836-7-8), assumed "the merit of
having been the first to illustrate the scenes
of mirth, of merriment, of humour, that often
sparkle " in these works. In " Landscape
Historical Illustrations of Scotland and the
Waverley Novels" he supplied the comic
plates ; his Bailie Macwheeble rejoicing before
Waverley, for chapter Ixvi. of "Waverley,"
was the first etching done by him on steel.
His "Waverley" etchings are characteristic
works, sometimes brilliant in pattern or com-
position, occasionally ministering to a love of
physiognomical ugliness which the small nurses
of the dolls called "golliwoggs" can better
explain than I. His predilection for the
curious and uncanny is shown in some striking
plates, including that in which he depicts the
terror of Dougal and Hutcheon as they mistake
the ape squatting on Redgauntlet's coffin for
"the foul fiend in his aiii shape."
192

THE VICAR OF WAKEFIELD PREACHING TO THE
PRISONERS. From " Illustrations of Popular Works," 1830

GEORGE CRUIKSHANK

Cruikshank's illustrations for " Memoirs
of the Life and Writings of Lord Byron"
(1824-5) are cuts which include such deplor-
able effects of bathos (e.g. Haidee saving Don
Juan from her Father's wrath) that one has no
heart to praise the rough vigour of Juan oppos-
ing the Entrance to the Spirit Room. A Byron
illustrated by protected aborigines seems realis-
able after seeing these pictures. If anybody
paid the artist for them it should have been
Wordsworth ; that they did not weigh on
Cruikshank's conscience, we may infer from
the fact that in 1833 he cheerfully caricatured
Byron for " Rejected Addresses " as a gentle-
man in an easy-chair kicking the terrestrial
globe.

We have already discussed the fruit of
Cruikshank's association with Dickens. We
have not, however, paid tribute to Cruikshank's
capital etchings for " Memoirs of Joseph
Grimaldi," edited by Boz (1838). The portrait of
the famous clown holding in his arms a hissing
goose and a squeaking pig, while voluble ducks
protrude their heads from his pockets and a
basket of carrots and turnips afflicts his back, is
extraordinarily funny.

195

GEORGE CRUIKSHANK

Though Cruikshank's relations with
Thackeray were far happier than with
Dickens, they resulted in nothing important
to his reputation. His etchings illustrating
Thackeray's contributions to "The Comic
Almanack" (1839-4-0) weary one with plain
or uninteresting faces, though that which
exhibits the expressive, blubber-face of Stubbs,
horsed for the birching earned by his usury,
provokes an irrational smile which serves for
praise. His illustrations to " A Legend of the
Rhine " (Thackeray's contribution to " George
Cruikshank's Table-Book," 1845) are not
equal to Thackeray's drawings for " The Rose
and the Ring" (1855).

In the world of humour one does not
descend in moving from Thackeray to Charles
James Lever. With Lever's own portrait of
his hero to guide him, Cruikshank illustrated
"Arthur O'Leary " (1844). Among his ten
etchings in this novel is an amusing exhibition
of Corpulence submitting to identification by
measurement ; it surpasses the scene by Du
Maurier in which the tailor promises to be
round in a minute if his customer will press
one end of the tape-measure to his waist.
196

CO

GEORGE CRUIKSHANK

Cruikshank's ten etchings for " Gil Bias "
(1833) are the works of an intelligent machine,
which may be called humorous because it takes
down the fact that Dame Jacintha held the
cup to the Canon's mouth "as if he had been
an infant." R. Smirke, R.A., with his sym-
pathetic eye for flesh (as of a gardener for
flowers) is obviously preferable to Cruikshank
as Le Sage's illustrator, though our artist's
Euphrasia is a dainty miss. Cruikshank's
fifteen illustrations for « Don Quixote " (1833-
34) are neat and for the most part uninspired
renderings of pathological humour. Although
it was within his ability to make a readable
picture without words, he merely reminds one
of the anecdote of the attack on the wind-
mills. Compare the plate referred to with
the painting on the same subject by Jose
Moreno Carbonaro. Cruikshank's combatant
is no more than a knight about to attack
something — presumably a wind-mill. Carbonaro
chooses the moment that exposes the knight
as mad, futile, dismally droll, and we see him
and his horse in the air, the latter enough
to make Pegasus hiccup with laughter.
Cruikshank's designs for " Don Quixote " com-
199

GEORGE CRUIKSHANK

pare favourably, however, with the audacious
scratches which constitute most of his brother
Robert's chronicle of the Knight of La Mancha
(1824). The collector who affords a crown to
buy the former designs should also acquire
" Rambles in the Footsteps of Don Quixote,"
by H. D. Inglis, with six etchings by George
Cruikshank (1837). The etchings— three of
which are perfect anecdotes — were evidently
done con amore; but, good as they are, they
were lucky if they satisfied an editor who
believed Inglis's "New Gil Bias" to be "one
of the noblest and most finished efforts in the
line of pure imaginative writing that ever fell
from the pen of any one man."

It would be a species of literary somnam-
bulism to wander further in a path of bibli-
ography where ideas must be taken as they
come instead of being ideally chosen and
grouped. There is this mischief in Cruikshank's
fecundity, that it tends to convert even a
fairly bright critic into a scolytus boring his
way through a catalogue. We emerge from
our burrowing more percipient than before
of the speculative nature of the undertaking
to illustrate illustrious works of imagination.
200

DON QUIXOTE AND SANCHO RETURNING HOME.
From "The History and Adventures of the Renowned
Don Quixote," 1833.

GEORGE CRUIKSHANK

Sinking in competitive humour is akin to
drowning ; for he who materialises images
despatched to the mind's eye by literary
genius incurs the risk of having his work not
only excelled by images in the eyes of minds
other than his own, but ignored in compliment
to them. Fortunate, then, is Cruikshank in
the fact that on the whole we do not regret
the healthy industrialism which permitted him
to illustrate so many examples of imaginative
literature.

The reader to whom any appearance of
digression is displeasing in art will now kindly
believe that only a second has elapsed since
he began the only complete paragraph of page
183. The scolytus is converted, and we return
to our true viewpoint — the middle of a
heterogeneous litter — and look for character-
istics of Cruikshankian humour.

We have seen so much of Cruikshank's
kingdom of supernature that it is scarcely
necessary to revisit it. The reader will note,
however, that the degradation of the terrible
to the absurd is his chief humorous idea of
supernature, and that he respects the serious-
ness of fairy tales. Not even the burlesque
203

GEORGE CRUIKSHANK

metaphors of Giambattista Basile — that
monkey of genius among the euphuists —
tempts him to ridicule the stories in "II
Pentamerone " ; no one less than Milton can
banish the ridiculous from his idea of Satan.
A Satan who is a little lower than Punch, is
he not more absurd than Man figured as a
little lower than the angels? He is both
more absurd and more satisfactory. Out of
the folklore of Iceland and Wales and
Normandy he comes to us outwitted by
mortals who seem paradoxically to think that
the Father of lies has a right to their
adherence to the letter of their agreements
with him. Out of Cruikshank's caricature he
comes to us with a tail capable of delineating
a whole alphabet of humour. The fire which
he and his demons can live in without con-
sumption becomes jocose. If you doubt it, com-
pare Cruikshank's etching for 1 )ouglas Jerrold's
story, "The Mayor of Hole-cum-Corner" (1842),
with his etching, Sing old Rose and burn the Bel-
lows in "Scraps and Sketches" (1828). The
human-looking demon with his left leg in the
flabbergasted mayor's fire is much funnier in
effect than the negro sailor boiling the kettle
204

NEW READINGS. The Irishman tries to read a
reversed sign by standing on his head. From
" The Humourist," vol. iv., 1821.

GEORGE CRUIKSHANK

over his wooden leg. Human terror at
superiority over natural law is highly ludicrous
when the superiority is evinced as though it
were ordinary, negligible, and compatible with
sociableness. We cannot now say of such
humour that it is a revelation, though once it
was brighter than all the fires of Smithfield.
There are foes of peace which in Cruikshank's
simplicity he thought of as good. For these,
too, there is a Humour to keep them at bay,
until Science delivers us from their evil by
making them obsequious to all who see them.
When Humour pretends to drop from the
supernatural to the commonplace, it — I cannot
for the moment persuade myself to write he
or she— is about to continue its most important
mission, for it deserts a subject which is
naturally laughable for one which is not ; it
goes from the supernatural to the common-
place. The supernatural is naturally laughable
because the human animal instinctively laughs
at that which at once transcends and addresses
his intelligence, on a principle similar perhaps
to that which Schopenhauer acted on when he
smiled at the angle formed by the tangent
and the circumference of a circle. At the
207

GEORGE CRUIKSHANK

commonplace, however, the human animal
never spontaneously laughs. Its staleness is
not dire to him ; but negativeness is not good,
and Cruikshank helps the commonplace to be
his friend.

When we view the demeanour of Cruikshank
towards the commonplace we are agreeably
surprised by his agility and daring. For
instance, take a book called " Talpa," by C.
W. Hoskyns (1852). It is a narrative of
agricultural operations, in the course of
which the author says, " The worst-laid tile is
the measure of the goodness and permanence
of the whole drain, just as the weakest link
of a chain is the measure of its strength."
Cruikshank, not being in the mood for drawing
a drain, depicts a watchdog who has broken his
chain's weakest link and is enthusiastically
rushing towards an intruder whose most
bitable tissues are reluctantly offered to him
in the attempt to scale a wall. The hackneyed
metaphor thus obviously illustrated being
valueless on the page where we find it, our
smile is for the " cheek " of the artist in
calling attention to it rather than for the
humour of the drawing as an exhibition of
208

"THE WITS MAGAZINE" (2 vols., 1818) is
" one of the rarest books illustrated by G.
Cruikshank." A perfect copy is said to be
worth ,£80. Another rendering by him of
the above incident will be found in " The
Humourist," vol. iv. (1821)

GEORGE CRU1KSHANK

funk and glee. Thus the "obvious" marries
the obvious, and the result is what is called
originality. Again, what is more commonplace
in its effect on the mind than decoration as
viewed on wall-paper, frames, and linoleum, and
in all those devices which flatter Nature's
alleged abhorrence of vacuum? It is unhealthy
to observe their repetitiousness. Cruikshank,
however, saw that to be amusing where the
utmost demanded is an inoffensive filling of
vacancy was to triumph against dulness in its
own sanctum. Consequently in the decora-
tions above and below the main designs in "The
Humourist" (1819-20) an appropriate hilarity
animates effects which do not frustrate the
decorative idea of announcing the complete-
ness of the pictures of which they are the
crown and base. His treatment of title-pages
is delightfully droll. Thus the title-page of
"My Sketch Book " (1834) takes the form of
a portrait of himself, with a nose like the ex-
tinguisher of a candlestick, directing the posing
of the required capital letters on the shelves
of a proscenium. On the title page of " The
Comic Almanac" (1835) the letter L is a
man sitting sideways with his legs stretched
21 1

GEORGE CRUIKSHANK

horizontally together, and on the title-page
of "The Pentamerone " (1848) the polysyl-
lable becomes the teeth of an abnormal king.
Studies by Cruikshank in the South Kensington
Museum (9950-T) show that he imagined the
letter M as two Chinamen united by their
pigtails, which form the V between the per-
pendiculars of that letter, and are also em-
ployed as a hammock. This play with the
alphabet is exhibited as early as 1828 in The
Pursuit of Letters, where all the letters in
the word Literature flee, on legs as thin as the
track of Euclid's point, from philomathic dogs,
while their brethren ABC attempt to
escape from three such babes as might have
sprung from the foreheads of men made out
of the dust of encyclopaedias. As late as July
1874, in reply to a coaxing letter from George
S. Nottage, we see Cruikshank making human
figures of the letters of the word " Portraits."

We return now to the zoological humour
which has flashed across these pages. In the
United States the art of humanising the
creatures of instinct to make them articulately
droll has been practised with such success by
Gus Dirks, J. S. Pughe, and A. Z. Baker, that
212

" while he spake a braying ass
Did sing most loud and clear."— WILLIAM COWPER.

From " The Diverting History of John Gilpin," 1828.
An earlier design by Cruikshank for "John Gilpin"
is in "The Humourist," vol. iii. (1819). 1836 is the
date borne by a new edition of W. A. Nield's very
monotonous musical setting of John Gilpin, "illus-
trated by Cruikshank " (presumably Robert).
C/7

GEORGE CRU1KSHANK

if Noah's Ark is not too l ' denominational/' it
is there that we should seek the origin of their
humour. Cruikshank, though he did re-draw
William Clarke's swimming duck holding up an
umbrella (in "Three Courses and a Dessert/'
1830), achieved nothing so triumphantly zoo-
logical as the ostrich who swallowed her medi-
cine but forgot to uncork the bottle containing
it, or the porcupine who asked a barber for a
shampoo, or the cat who discovered that her
Thomas was leading a tenth life, or the ele-
phant who wondered how the stork managed
to convey him to his parents, or the beetle-
farmer who mowed a hairbrush. Cruikshank,
however, was in the Ark before them, and
brought back enough humour resembling theirs
to show what he missed, besides humour of a
different kind which they do not excel. In
" Scraps and Sketches" (1829) he preceded
the Americans in the humour which makes
the horse the critic of the motor-car, though
not in that which seems to make the motor-car
the caricaturist of the horse ; and in the above-
named publication he represents a dog in the
act of prophesying cheap meat for the canine
race. Again, in " Scraps and Sketches " (1832)
215

GEORGE CRUIKSHANK

two elephants laugh together over a pseudo-
pun on the word trunk.

We are not, however, reminded of America
by the inquiry printed below the elephant on
the next page, which might well have surprised
Lewis Carroll by resemblance more than all
the works of Mr G. E. Farrow. Neither does
America recognise the silence of her own
laughter in those drawings in which Cruik-
shank caricatures humanity under zoological
likenesses. His alderman realising Haynes
Bayly's wish to be a butterfly in " My Sketch
Book" (1 835), his coleopteral beadle in " George
Cruikshank's Omnibus" (1842), are simple
attempts to make tours de force of what is
rather obscurely called the obvious, and one
realises that art can find itself strong in
embracing feeble idea. The most striking of
his zoological ideas is the effect of abnormal
behaviour on human people. Witness in
" Scraps and Sketches " (1832) the "dreadful
tail " unfolded in the dialogue : " Doth he
woggle his tail ? " " Yes, he does." " Then
I be a dead mon ! " One may also cite the
horror of the diver at the rising in air of a
curly and vociferous salmon from the dish in
216

When the Elephant stands upon his Head, does he
himself know whether he is standing upon his
Head or his Heels?" "George Cruikshank's
Magazine," February 1854.

GEORGE CRUIKSHANK

front of him (ibid.). Among all his drawings
of animals (those for Grimm excepted) there
is one etching which stands out as a technical
triumph produced by a sense of irony. I refer
to the etching entitled The Cat Did It ! in
".The Greatest Plague of Life " (l 847). Fifteen
pussies in a kitchen throw the crockery off
the dresser, topple the draped clothes-horse
into the fire, smash the window glass and
devour the provisions. The scene is like a
burlesque of one of its designer's etchings in
Maxwell's " Irish Rebellion." It is unique.

We must not quit Cruikshank's zoological
drawings without remarking on the curious
inconsistency of his attitude towards animals.
We find him both callous and tender. In
illustrating " The Adventures of Baron
Munchausen " he chose (one assumes) to draw
the Baron flaying the fox by flagellation ; at
any rate we have his woodcut depicting the
abominable operation ; and in " Scraps and
Sketches" (1832), poor Reynard, for the sake
of a pun, is exhibited as " Tenant intail " of a
spring-trap. Yet in " My Sketch Book "
(1835) he presents us with frogs expostulating
with small boys for throwing stones at them
219

GEORGE CRUIKSHANK

(" I pray you to cease, my little Dears ! for
though it may be sport to you, it is death to
us"). Again, his canine reference to cats'
meat, already mentioned, implies a heartless-
ness towards horses which is contradicted by
his touching but not much prized etching
The Knacker's Yard, to be found in "The
Voice of Humanity" (May 1831), in "The
Melange" (1834), and in "The Elysium of
Animals" (1836). Moreover, in "My Sketch
Book" (1835) he severely exhibits human
insensitiveness to the sufferings of quadrupeds
in The Omnibus Brutes — qy. which are they ? It
is therefore clear that Cruikshank thought
ljumanely about animals, though as a humorist
he was irresponsible and gave woe's present
to ease — its comicality. And before we write
him down a vulgarian let us remember our
share in his laughter at the absurdity of
incarnations which confer tails on elemental
furies and indecencies, and compel elemental
importances and respectabilities to satisfy their
self-love by ruinous grimaces and scaffoldings
of adipose tissue.

In a comparison I have already associated
Cruikshank with Lewis Carroll, who was
220

THE CAT DID IT I " From " The Greatest Plague in
Life "(1847).

GEORGE CRUIKSHANK

systematically the finest humorist produced
by England till his death in 1898. The most
intensely comic thing ever wrought by the
hand of Cruikshank is, I think, by the absolute
perfection of its reasoning a priori, a genuine
" carroll in a minor key. It is the drawing in
"Scraps and Sketches" (1832) in which, to a
haughty, unamused commander, the complain-
ant says, " Please, your Honor, Tom Towzer
has tied my tail so tight that I can't shut my
eyes."

One of Cruikshank's humorous ideas is
particularly his own, because it satisfies his
passionate industry. I mean those processions
of images which he summoned by the enchant-
ment of single central ideas. The Triumph of
Cupid in " George Cruikshank's Table Book"
(1845) is as perfect an example as I can cite.
Cruikshank is seated by a fire with his " little
pet dog Lilla " on his lap. From the pipe he
is smoking ascends and curls around him a
world of symbolic life. The car of the boy-
god is drawn by lions and tigers. Another
cupid stands menacingly on a pleading Turk ;
a third cupid is the tyrant over a negro under
Cruikshank's chair ; a fourth cupid, sitting on
223

GEORGE CRUIKSHANK

Cruikshank's left foot, toasts a heart at the
"fire office " ; more cupids are dragging Time
backwards on the mantelpiece, and another is
stealing his scythe. Consummate ability is
shown in the delicate technique of this etching,
which was succeeded as an example of mulium
in parvo by the well-known folding etching
Passing Events or the Tail of the Comet of 1853,
appearing in " George Cruikshank's Magazine "
(February 1854).

Playing on words is very characteristic of
Cruikshank's humour. Thus he shows us
" parenthetical " legs, as Dickens wittily called
them, by the side of those of "a friend in-
kneed," and a man (dumbly miserable) arrested
on a rope-walk is " taken in tow." Viewing
Cruikshank at this game does not help one
to endorse the statement of Thomas Love
Peacock, inspired by the drawing of January
in "The Comic Almanack" (1838),

f ( A great philosopher art thou, George Cruikshank,
In thy unmatched grotesqueness,"

for a philosopher is a systematiser and a punster
is an anarchist. But we do not need him as
a philosopher or as an Importance of any kind.

224

GEORGE CRUIKSHANK

What we see and accept as philosophy in
him is the appropriation of misery for that
Gargantuan meal of humour to which his
Time sits down. Yet in that philosophy it is
certain that ironists and pessimists excel him.

An entomologist as generous in classification
as Mr Swinburne, author of " Under the
Microscope/' will now observe me in the
process of being re-transformed into a scolytus.
" Impossible! " cries the reader who remembers
my repentance on page 203. But I say " In-
evitable." Since I had the courage to bore my
way through a catalogue of famous books
illustrated humorously by Cruikshank, I
feel it my duty to bid the reader look at a
list of works of which he should acquire all
the italicised items, in such editions as he can
afford, if he wishes to know Cruikshank's
humour as they know it who call him " The
Great George."

The Humourist (4 vols., 1819-20).
German Popular Stories (2 vols., 1823-4).
Points of Humour (2 vols., 1823-4).
Mornings at Bow Street (1824).
Greenwich Hospital (182(>).
More Mornings at Bow Street (1827).
227

GEORGE CRUIKSHANK

Phrenological Illustrations (1826).

Illustrations of Time (1827).

Scraps and Sketches (4 parts and one plate of an

unpublished 5th part, 1828-9, 1831-2, 1834).
My Sketch Book (9 numbers, with plates dated

1833, 1834, 1835).
Punch and Judy (1828).
Three Courses and a Dessert (1830).
Cruikshankiana (1835).
The Loving Ballad of Lord Bateman (1839).
George Cruikshank's Omnibus (9 parts, 1841-2).
The Bachelor's Own Book (1844).
George Cruikshank's Table Book (12 numbers,

1845).
George Cruikshank's Fairy Library (4 parts,

1853-4, 1864).
George Cruikshank's Magazine (2 numbers, 1854).

This list reminds us that, though Cruikshank
often conferred a bibliophile's immortality
upon authors more " writative," to quote the
Earl of Rochester, than inspired, he was some-
times the means of arresting great literary
merit on its way to oblivion. A case in point
is William Clarke's " Three Courses and a
Dessert," a book of racy stories containing
droll and exquisite cuts by Cruikshank, after
rude sketches by its author, who did Cruikshank
228

The Turk's only daughter approaches to mitigate the sufferings
of Lord Bateman." "The Loving Ballad of Lord Bate-
man," 1839.

GEORGE CRUIKSHANK

the service of accusing him in "The Cigar"
(1825) of being stubbornly modest for half an
hour. Again, we owe to Cruikshank our
knowledge of " The Adventures of Sir Frizzle
Pumpkin ; Nights at Mess ; and Other 'Pales "
(1836), a work of which I will only say that
its anonymous narrative of good luck in
cowardice won a smile from one of the most
lovable of poets on the day she died.

" The Loving Ballad of Lord Bateman " is
one of the puzzles of literature. Mr Andrew
Lang decides that it is a volkslied, to which,
for the version of it illustrated by Cruikshank,
Thackeray contributed the notes considered
by some to be by Dickens. Mr Blanchard
Jerrold thinks " nobody but Thackeray "
could have written the lines about " this young
bride's mother Who never was heard to speak
so free," and I think that the notes are
Thackeray's, and the ballad an example of a
class of literature from which Thackeray drew
comic inspiration. Cruikshank heard it sung
outside " a wine vaults " (sic) at Battle Bridge
by a young gentleman called "The Tripe-
skewer." The ballad became part of Cruik-
shank's repertory. Mr Walter Hamilton states
2gl

GEORGE CRUIKSHANK

that Cruikshank sang "Lord Bateman " in
the presence of Dickens and Thackeray ' ' at a
dinner of the Antiquarian Society, with the
Cockney mal-pronunciations he had heard
given to it by a street ballad-singer." He
adds that Thackeray expressed a wish, which
he allowed Cruikshank to sterilise, to print
the ballad with illustrations. We may there-
fore suppose, despite the omission of the notes
to Lord Bateman from the ' e Biographical
Edition " of Thackeray's works, that they
are by the author of "The Ballad of Eliza
Davis." Cruikshank, overflowing with lacteal
kindness, added three verses to the "loving
ballad " as he heard it, in which the bride who
yields place to the Turk's daughter is married
to the "proud porter." Cruikshank's etchings
are charmingly naive and expressive. The
bibliophool pays eight guineas for a first
edition, minus the shading of the trees in
the plate entitled The Proud Young Porter
in Lord Bateman s State Apartment.

"The Bachelor's Own Book" is a story told
in pictures and footlines, both by the artist.
The hero is " Mr Lambkin, gent," a podgy-
nosed prototype of Juggins, who amuses him-
232

GEORGE CRUIKSHANK

self by the nocturnal removal of knockers and
duly appears in the police court, but is ulti-
mately led to domestic felicity by the dreary
spectacle of a confirmed bachelor alone in an
immense salon of the Grand Mausoleum Club.
Some of the etchings — notably Mr Lambkin
feebly revolting against his medicine — are
mirth -provoking, and his various swaggering
attitudes are well-imagined.

" Cruikshankiana " conveniently presents a
number of George Cruikshank's caricatures in
reprints about a decade older than the plates.
The preface solemnly but with ludicrous in-
accuracy states that in each etching " a stern
moral is afforded, and that in the most
powerful and attractive manner."

We are now brought to the conclusion of our
most important chapter. Will Cruikshank's
humour live? or, rather, may it live? for
things live centuries without permission, and
the fright of Little Miss Muffet is more re-
membered than the terror of Melmoth. The
answer should be " Yes " from all who acknow-
ledge beauty in the sparkle of evil and of good.
No humorist worthy of that forbidden fruit
which made thieves of all mankind can refrain

GEORGE CRUIKSHANK

from the laughter which is paid for by another.
Mark Twain, who has nerves to thrill for
martyred Joan of Arc, delights in the epitaph,
"Well done, good and faithful servant," pro-
nounced over the frizzled corpse of a negro
cook. Lowell, the poet, extracted a pun from
the blind eyes of Milton. Punch, in 1905,
amused us with the boy who supposed that
horses were made of cats' meat, and in 1905 Sir
Francis Burnand thought that the most humor-
ous pictorial joke published by him in Punch
was Phil May's drawing of a fisherman being
invited to enter the Dotty ville Lunatic Asylum.
There is heroism as well as vulgarity in laughter
saluting death and patience, hippophagy and
cannibalism, ugliness and deprivation. He is
a wise man who sees smiling mouths in the
rents of ruin and the spaces between the ribs
of the skeleton angel. Humour, irresponsible
and purposeless, is of eternity, and to me (at
least) it is the one masterful human energy in
the world to-day. It is against compassion and
importance and remorse and horror and blame,
but it is not for cruelty, or for indifference to
distress. Nothing exists so separate from
truth and falsehood and right and wrong.

GEORGE CRUIKSHANK

Nothing is more instant in pure appeal to the
intellect, no blush is more sincere than that of
the person who before company cannot see a
joke. Humorists are dear to the critic because
they criticise by re-making in the world of idea
the things they criticise. Among them Cruik-
shank is dearer than some, less dear than others.
Through the regency and reign of the eldest
son of George the Third he, even more than
Cobbett, seems to me the historian of genius,
by virtue of prodigious merriment in vulgar art.
The great miscellany of humour which he
poured out revitalises his name whenever it is
examined by the family of John Bull. For it
is his own humour — the humour of one who
had the power to appropriate without disgrace
because he was himself an Original,

235

VII

OUR classification of Cruikshank's works has
enabled us to see the objective range of his
artistic personality. A few words must now
be said of the media in which he worked. Of
these media the principal was etching.

"O! I've seen Etching!" exclaims
Cruikshank in 1 859 ; " it's easy enough, you
only rub some black stuff over the copper
plate, and then take a[n] etching needle, and
scratch away a bit — and then clap on some
a-ke-ta-ke (otherwise aquafortis) — and there
you are ! " " Wash the steel," he says in another
of his quaint revelations, "with a solution of
copper in Nitro\ii\s acid — to tarnish the tarnation
Bright steel before Etching, to save the eyes."

In his 77th year he says : " I am working
away as hard as ever at water color drawings
and paintings in oil, doing as little Etching as
possible as that is very slavish work."

As he had etched about 2700 designs when

236

GEORGE CRUIKSHANK

he made this statement, it is impossible not
to sympathise with his recreative change of
medium. It must be remembered that, except
in dry-point etching, the bite of the acid is
trusted to engrave the design of the needle
and that, when the stronger lines are obtained
" by allowing the acid to act for a longer time "
on a particular part or parts of the etched
plate, the mechanical work, and work of
calculation, imposed upon the etcher is formid-
able. Until, in the late seventies of the nine-
teenth century, the invasion of the process-
block gave manual freedom to the bookseller's
artist, that individual was continually sighing
over the complexity of the method by which he
paid the tribute of his imagination to Mammon.
In the hands of the wood-engraver an artist's
uiiengraved work was apparently always liable
to the danger of misrepresentation unless the
artist engraved it himself. Even the great
John Thompson is not free from the suspicion
of having unconsciously assisted "demon
printers" in transforming into "little dirty
scratches " some designs by Daniel Maclise,
whose expressions are preserved in this
sentence. Cruikshank who, if we add his

239

GEORGE CRUIKSHANK

woodcuts to his etchings, saw upwards of
4000 designs by him given with laborious
indirectness to the world, would have been
more than human if he had considered his
unskilfulness in the art of producing and
employing the colours between black and
white as a reason for refraining from painting
in oils. In 1853 "he entered as a student at
the Royal Academy"; but his industry, in
the role of a pupil of 60, was, it seems, less
than his humility, for " he made very few
drawings in the Antique" says Mr Charles
Landseer, " and never got into the Life."
Cruikshank, however, had exhibited in the
Royal Academy as early as 1830, and in 1848
he dared to paint for the Prince Consort the
picture entitled Disturbing the Congregation.
This picture of a boy in church looking passion-
ately unconscious of the fact that his sacri-
legious pegtop is lying on the grave of a
knight in full view of the beadle, is an anecdote
painted more for God to laugh at than for
Christians of the " so-called nineteenth
century," but a philosophic sightseer like
myself rejoices in it. This picture and The
Fairy Ring, already praised, reveal Crnikshank's
240

0) CRUSOE'S FARMHOUSE.
(A) CRUSOE IN HIS ISLAND HOME.
From "Robinson Crusoe," 1831

GEORGE CRUIKSHANK

talent sufficiently to prevent one from regret-
ting that he ultimately preferred covering
canvases to furrowing plates.

To do him justice he was academically
interested in the whole technique of pictorial
art as practised in his day. He admitted, for
instance, to Charles Hancock, "the sole
inventor and producer of blocks by the process
known as ' Etching on Glass/" that if this
invention had come earlier before him "it
would have altered the whole character" of
his drawing, though the designs which he
produced by Hancock's process — the first of
which was completed in April 1864 — include
nothing of importance.

We will not further linger over the media
of reproduction employed by our artist, but
summon a few ideas suggested by the vision
we have had of him sitting like a schoolboy in
the schoolroom of the Royal Academy.

As a draughtsman he had been professorial
in 1817 when he published with S. W. Fores
two plates entitled Striking Effects produced
by lines and dots for the assistance of young
draftsmen, wherein he showed, like Hogarth,
the amount of pictorial information which an

243

GEORGE CRUIKSHANK

artist can convey by a primitively simple
method. He was professorial, too, when in
1865 he attempted to put in perspective a
twelve mile giant taking a stride of six miles,
on a plate 6 inches long and 3| inches broad,
and informed the publisher of " Popular
Romances of the West of England " (1865)
that about 1825 he had attempted to put in
perspective the Miltonic Satan whose body

ef Prone on the flood, extended long and large,
Lay floating many a rood."

Cruikshank's greatest enemy was his
mannerism which may even delude the pessi-
mist of scant acquaintance with him into the
idea that it imperfectly disguises an inability
to draw up to the standard of Vere Foster.
The Cruikshankian has merely to direct the
attention of such a person to the frontispiece
executed by Cruikshank for T. J. Pettigrew's
" History of Egyptian Mummies" (1834). If
a man can draw well in the service of science
his mannerism is the accomplishment of an
intention.

Ruskin said that Cruikshank's works were
" often much spoiled by a curiously mistaken
244

THE VETERANS. From " Songs, Naval and National,

of the late Charles Pibden," 1841.
cr

GEORGE CRUIKSHANK

type of face, divided so as to give too much to
the mouth and eyes and leave too little for
forehead," and yet there is extant a curious
MS. note by Cruikshank to the effect that Mr
Ruskin's eyes were " in the wrong Place and
not set properly in his head," showing that
Cruikshank was a student of even a patron's
physiognomy and suggesting that, if Ruskin
had roamed in Cruikshank' s London he would
have convicted the artist of a malady of
imitativeness. It must be remembered that
he repeatedly drew recognisable portraits of
his contemporaries ; indeed he was so far from
being a realist devoted to libel that Mr Layard
confides to us that various studies by George
Cruikshank of " the great George " would, he
thinks, " have resulted in an undue sublimation
had completion ever been attained."

Yet the sublimation of the respectable is
precisely the rosy view of Cruikshank the man
enjoyed by me at the present moment. He
is Captain of the 24th Surrey Rifle Volunteers ;
he is Vice-President of the London Temperance
League. He sketches a beautiful palace as
a pastime. He is in the same ballroom as
Queen Victoria, and Her Majesty bows to
247

GEOftGE CRUIKSHANK

him. Withal he is sturdy and declines the
Prince Consort's offer for his collection of
works by George Cruikshank. In the end
St Paul's Cathedral receives him, and the
person who knew him most intimately declares
on enduring stone that she loved him best.

We are now at the end, and cannot
stimulate the muse of our prose to further
efforts. She being silent obliges our blunt
British voice to speak for itself. Inasmuch as
Cruikshank was a mannerist, he is inimitable
except by them who take great pains to vex
the critical of mankind. Inasmuch as he
expressed the beauty of crookedness, as though
he found the secret of artistic success in
punning on his own name, he offers a model
worthy of practical study. His fame as an
etcher is too loud to be lost in the silence of
Henri Beraldi, who enumerated " Les graveurs
du dix-neuvieme siecle," in 12 tomes (1885-
1 892), without mentioning his name. Though C
is more employed in the initials of words than
any other letter in our alphabet, the name of
Cruikshank comes only after " Curious " in its
attractiveness for the readers of entries under
the letter C in English catalogues of second-
248

VIGNETTE. From -'Pet-ps at Life," by the London
Hermit (London: Simpkin, Marshall & Co.),
engraved by Bolton, 1875.

GEORGE CRUIKSHANK

hand books. It may be that to etchings in
books of Cruikshank's period is ascribed, since
the usurpation of the process-block, the
factitious value of curios, and that he, Beraldi's
Great Omitted, profits thereby. It is a fact
that he is "collected" like postage-stamps,
though no published work of his has attained
the price per copy of the imperforate twopenny
Mauritius of J847. But we have descended
to a comparison so unfortunate in its logical
consequences that it is well to prophesy the
immortality of Cruikshank from other than
commercial tokens. Those tokens exist in
the undying praises of Dickens, Thackeray,
"Christopher North," and Ruskin, in the
enormous work of his principal bibliographer
George William Reid, and, not least to the
spiritual eye, in the permanence of the
impression made by a few of his designs on a
memory that has forgotten a little of that
literary art which is the only atonement offered
by its owner to the world for all the irony of
his requickened life.

25

ANNOTATED BIBLIOGRAPHICAL INDEX

Numbers referring to illustrations are in larger type. The titles of
illustrations are in italics, the titles of books and periodicals in
inverted commas. An article or demonstrative adjective in par-
enthesis in the first line of an entry indicates that the article
parenthesised begins the title of the subject of that entry.

Achilles in Hyde Park, 171.
See Brazen, Ladies, Making.

Acton, John Adams. See
Cruikshank, George.

Adam-tilers. An Adam-tiler is
a receiver of stolen goods, a
pickpocket, a fence, 103.

" Adventures (The) of Gil Bias
of Santillane. Translated
from the French of Lesage,
by T. Smollett, M.D. To
which is prefixed a memoir of
the author, by Thomas Roscpe.
Illustrated by George Cruik-
shank [and K. Meadows] " (2
vols., London : Effingham
Wilson, 1833 ; being vols.
xvi. and xvii. of " The
Novelist's Library, edited by
Thomas Roscoe, with illus-
trations by George Cruik-
shank "), 199.

" Adventures (The) of Joseph
Andrews, by Henry Fielding,
Esq., with illustrations by
George Cruikshank " (Lon-
don: James Cochrarie & Co.,
1832. It is vol. vii. of " The
Novelist's Library : edited
by Thomas Roscoe, Esq.,
with illustrations by George
Cruikshank"), 189.

" Adventures (The) of Sir Frizzle
Pumpkin ; Nights at Mess ;
and Other Tales. With illus-
trations by George Cruik-
shank" (William Blackwood
& Sons, Edinburgh ; and T.
Cadell, Strand, London, 1836.
The author is Rev. James
White). 231.

A. E. (George Russell), 161.

A Going! A Going! The Last
Time A Going!!! (print

Sub. 12 April 1821 by G.
umphrey), 25.

Ainsworth, William Harrison, 77,
81. See Ainsworth's, Artist,
Guy Fawkes, Jack Sheppard,
Miser's, Rook wood, S[ain]t
James's, Sir Lionel, Tower,
\Vindsor.

" Ainsworth's Magazine : a
Miscellany of Romance,
General Literature, and Art.
Edited by William Harrison
Ainsworth " (illustrations by
George Cruikshank appear in
the first 6 vols. and the gth
vol. " Guy Fawkes " was
reprinted with Cruikshank's
etchings in vols. xvi. xvii. in
1849 and 1850. The first 9
vols. were published in

253

GEORGE CRUIKSHANK

London by [successively]
Hugh Cunningham, 1842 ;
Cunningham & Mortimer,
1842-1843 ; John Mortimer,
1843-1845 ; Henry Colburn,
1845 ; Chapman & Hall, 1846),
86, 87, 90, 91, 93, 137-

Akerman, John Yonge, 125, 126.
See Gentleman.

Albert, Prince (the Prince Con-
sort, born 1819, died 1861),
44, 240, 248. See Original.

Albert Memorial, 43.

Alfieri, 72.

Almanack. See Comic Alma-
nack.

Alphabet. 211-212. See Comic
Alphabet.

Andersen, Hans Christian, 36.

" Angelo's Picnic ; or, Table
Talk, including numerous Re-
collections of Public Char-
acters, who have figured in
some part or another of the
stage of life for the last fifty
years ; forming an endless
variety of talent, amusement,
and interest, calculated to
please every person fond of
Biographical Sketches and
Anecdotes. Written by
Himself. ... In addition to
which are several original
literary contributions from
the following Distinguished
Authors : — Colman, Theodore
Hook. Bulwer, Horace Smith,
Mrs 'Radcliffe, Miss Jane
Porter, Mrs Hall, Kenny, |
Peake, Boaden, Hermit in |
London, &c." ( London :
John Fbers, 1834), 225.

" Annals (The) of Gallantry, or
the Conjugal Monitor," by A.
Moore, LL.D.(s vols., London:
printed for the proprietors
by M. Jones, 1814, 1815.
First issued in 18 parts), 70-71.
Anti-Slavery. See New.

" Arabian Nights " (the
publisher, Mr John Murray,
has a record that George
Cruikshank was paid £67. 45.
for some illustrations for the
" Arabian Nights "), 156.

Arnold, Matthew, 69.

" Arthur O'Leary : His Wan-
derings and Ponderings in
many Lands. Edited by his
Friend, Harry Lorrequer, and
Illustrated by George Cruik-
shank. In Three Volumes "
(London : Henry Colburn,
1844), 196.

" Artist (The) and the Author.
A Statement of Facts, by the
Artist, George Cruikshank.
Proving that the Distinguished
Author, Mr W. Harrison Ains-
worth, is ' labouring under a
singular delusion ' with re-
spect to the origin of ' The
Miser's Daughter,' ' The Tower
of London,' &c." (London :
Bell & Daldy, 1872), 60.

" Art Journal (The)," 184.

" Athena?um (The)," 82.

"Attic Miscellany," n.

Augustus Frederick, Duke of
Sussex (6th son of George III.,
born 1773, died 1843. George
Cruikshank etched facsimiles
of five illustrations in a isth
century Hebrew and Chaldee
Pentateuch, copies of two
illuminations from a i3th
century Armenian MS. of the
Gospels and an illumination to
a Latin Psalter of the loth
century for " Bibliotheca
Sussexiana. A descriptive
catalogue, accompanied by
historical and biographical
notices of the manuscripts and
printed books contained in
the library of His Royal High-
ness the Duke of Sussex,
K.G., D.C.L., &c. &c. &c. &c.,

254

BIBLIOGRAPHICAL INDEX

in Kensington Palace. By
Thomas J oseph Pettigrew,
F.R.S., F.A.S., F.L.S., and
librarian to H.R.H. the Duke
of Sussex " [London : Long-
man & Co., Paternoster Row ;
Payne & Foss, Pall Mall;
Harding & Co., Pall Mall
East ; H. Bohn, Henrietta
Street ; and Smith & Son,
Glasgow, 1827]). See Illus-
trations of Popular.

Bacchus. See Worship ; Oil
Painting.

" Bachelor's (The) Own Book.
The Adventures of Mr
Lambkin, Gent., in the Pur-
suit of Pleasure and Amuse-
ment, and also in search of
Health and Happiness "
(designed, etched, and pub-
lished by George Cruikshank,
i Aug. 1844), 232-233.

Baker, A. Z., 212.

Ballooning, 40.

" Banbury Chap-Books." See
Pearson, Edwin.

" Bands (The) hi the Parks.
Copy of a letter supposed to
have been sent from a High
Dignitary of the Church to
' the Right Man in the Right
Place,' upon the subject of the
military Bands Playing in the
Parks on Sundays. Picked
up and published by George
Cruikshank " (London : W.
Tweedie, 1856), 59.

Bank of England, 28.

Bank Restriction Note (Hone
is said to have realised over
£700 by the sale of this
shocker), 28.

Barham, Rev. Richard Harris
(" Thomas Ingoldsby " ; born
6 Dec. 1788, died 17 June
1845) . See Ingoldsby Legends.

Barker, M. H. ("The" and

"An" "Old Sailor"), 95.
See Greenwich, Old Sailor's
Jolly Boat, Topsail-sheet.

Bartholomew Fair, 39.

Basile, Giambattista, 204. See
Pentamerone.

Bateman, Lord. See Loving.

Bath. See New Bath.

Bayly, Thomas Haynes (died
22 April 1839), 216.

Beachy Head, 108.

" Beauties (The) of Washington
Irving, Esq. . . . Illus-
trated with woodcuts, en-
graved by Thompson ; from
drawings by George Cruik-
shank, Esq." (4th ed., London:
Thomas Tegg & Son, 1835.
G. Cruikshank illustrated
" Knickerbocker's New York"
[sic] with a fine etching
entitled Ten Breeches, and
another entitled Anthony
Van Corlear &• Peter Stuy-
vesant, pub. in " Illustra-
tions of Popular Works,"
1830). See Thompson, John.

" Bee (The) and the Wasp. A
Fable — in verse. WTith de-
signs and etchings, by G.
Cruikshank "(London : Charles
Tilt, 1832. The text is by
Richard Frankum), 148.

Beerbohm, Max, 22.

Belch, W., 12.

Bentley, Richard, publisher
(died 10 Sept. 1871 in the
77th year of his age), 86.

Bentley's Miscellany (64 vols.,
London : Richard Bentley,
1837-1868. George Cruik-
shank contributed illustra-
tions to the first 14 vols.
Charles Dickens edited vols.
i.-v., and part of vol. v.
William Harrison Ainsworth
was the next editor, but
started an opposition maga-
i zine in 1842), 74 (vol. iv.,

255

GEORGE CRUIKSHANK

1838), 133 (The Handsome

Wales. Price six shillings,"

Clear Starcher), 175 (The

27, 55-57, 69.

Ingoldsby Legends).

Bowring, John. See Minor.

Beraldi, Henri, 248, 251.

Boz. See Dickens, Charles.

Berenger, Lt.-Col. Baron De.

Brazen (This) Image was erected

See Stop.

by the ladies, in honor of

Bergami, Baron Bartolomo, 26.

Paddy Carey O'Killus, Esq.,

" Betting (The) Book. By

their Man o' Metal. (J. P***y

George Cruikshank " (Lon-

invt., G. Cruikshank feet.

don : W. & F. G. Cash,

Caricature published by J.

1852), 58.
Blake, William (born 1757, died
12 Aug. 1828). See Three.

Fairburn, 20 July 1822), 171.
Breaking Up (Holiday scene
by George Cruikshank,

Blewitt, Mrs Octavian, 134.

published 12 Dec. 1826 by

See Rose and the Lily.

S. Knight), i.

Blucher (Old) beating the Cor-

Brighton Pavilion (" the Folly"),

sican Big Drum (caricature

44-

published by S. W. Fores,

Broadley, A. M., 12. See Facing,

8 April 1814), 20.

Reid.

" Blue Light (The)," 159.

" Brooks alias Read," publisher

Boleyn, Anne, 90.

who employed Percy Cruik-

Bolton, engraver, 249.*

shank and who was cari-

Boney Hatching a Bulletin, or

catured insultingly by George

Snug Winter Quarters (cari-

Cruikshank, 60.

cature published Dec. 1812

Brough, Robt. B. See Life of Sir.

by Walker & Knight), 18.

Bruton, H. W., 133.

Boney' s Elb(a)ow Chair (cari-

Buck, Adam (portrait painter,

cature published 5 May 1814

born 1759, died l833- The

by S. Knight), 20.

Duke of York was among his

Boney's Meditations on the

sitters), 26.

island of St Helena. The

Bull, John, 4, 7, 176. See John

Devil addressing the Sun. (G.

Bull, John Bull's, Johnny

H. invt., G. Cruikshank feet.

Bull, Preparing.

Caricature published by H.

Bunyan, John, 120, 125. See

Humphrey, Aug. 1815), 133.

Christian, Pilgrim's (2 items).

Boney Tir'd of War's alarms

Burnand, Sir Francis Cowley,

(caricature published by

(born 29 Nov. 1836 ; became

Walker & Knight, Jan. 1813),

editor of " Punch " in 1880),

18.

234.

" Bottle (The). In eight plates,

Burns, Robert, 116 (The Deil

designed and etched by George

cam fiddling thro' the Town),

Cruikshank. Dedicated to

172 (" The Jolly Beggars ").

Joseph Adshead, Esq., of

See Royal Academy, 1852.

Manchester. London : pub-

" Bursill's Biographies. No. i.

lished for the artist, September

George Cruikshank. Artist

ist, 1847, by David Bogue,

— Humorist — Moralist "

86 Fleet Street ; Wiley & Put-

(London : John Bursill), 162.

nam, New York ; and J .

Buzmen. A Buzman is a pick-

Sands, Sydney, New South

pocket, 103.

256

BIBLIOGRAPHICAL INDEX

Byron, Lord, 183, 195. See
Memoirs of the Life.

" Cakes and Ale. By Douglas
Jerrold" (2 vols., How &
Parsons, 1842), 204 (The
Mayor of Hole-cum-Corner).

Callot, Jacques (born 1592,
died 28 March 1635), 93, 94.

Carbonaro, Jose Moreno, 199.

Carbonic Acid Gas. See Good
Effects.

Carey, David, 46, 47.

Caroline of Brunswick, wife of
George IV. (born 17 May
1768, married George, Prince
of Wales, 8 April 1795, died
7 Aug. 1821. If the belief
still linger that Cruikshank
was a Caroliniac, see his draw-
ing of The Radical Ladder in
" The Loyalist's Magazine,"
1821. The preface to this
publication remarks on " that
Reginal mania, which for a
season transported our coun-
trymen "), 25. See A Going,
Queen's, Royal Rushlight.

Carpenter, 27.

Carroll, Lewis, 32, 183-184, 216,

220, 223.

Cash, William, 57.

Catalani, Angelica, n.

" Catalogue (A) of a Selection
from the Works of George
Cruikshank, Extending over
a Period of Upwards of Sixty
years [from 1799 to X863,]
Now Exhibiting at Exeter
Hall. Consisting of Upwards
of One Hundred Oil Paint-
ings. Water- Colour Drawings,
and' Original Sketches ; to-
gether with over a Thousand
Proof Etchings, from his
most popular Works, Cari- •
catures, Scrap Books, Son[g] j
Headings, &c. ; and The |
Worship of Bacchus. Open \

Daily from Ten till Dusk.
Admission One Shilling. Lon-
don : William Tweedie, 337,
Strand, 1863. Price Two-
pence " ('This title is copied
from that of the 2nd ed. of
the catalogue, desirable'on ac-
count of G. Cruikshank's pre-
face which is dated February,
1863), i.

" Catholic Miracles ; illustrated
with seven designs, including
a characteristic portrait of
Prince Hohenlohe, by George
Cruikshank. To which is
added a reply to Cobbett's
Defence of Catholicism, and
his Libel on the Reformation "
(London : Knight & Lacey.
Dublin : Westley & Tyrrell,
1825), 140.

Cato Street, 3. See Interior
View of Hayloft.

Cervantes, 183. See History
and, Illustrations of Don.

Chamisso, Adelbert von, 125.
See Peter.

Charles Gustavus, King of
Sweden, 74.

Chesson, Nora (poet), 231.

Chesterton, Gilbert Keith
(quoted), 104.

Children's Lottery Print (first
published in 1804, by W.
Belch, Newington Butts, price
Jd. Mr G. S. Layard observes
that " George did not make
his copy from the earliest
state of the plate"), 15.

Child's Christmas Piece — Daniel
in the Lion's Den. (An etching.
Capt. Douglas writes, " the
centre is left blank in which
the child has to write its
Christmas piece "), n.

Cholic (The) (caricature pub-
lished by G. Humphrey, 12
Feb. 1819), 166.

Christian passing through the

257

GEORGE CRUIKSHANK

Valley of the Shadow of Death
(print of which the foundation
is unknown. Published by
W. Tweedie, 337 Strand. De-
scribed on p. 125 from No.
10,043 hi The George Cruik-
shank Collection, South Ken-
sington Museum).

" Cigar (The) " (2 vols. Lon-
don : T. Richardson, 98 High
Holborn ; Sherwood, Jones
& Co., Paternoster Row ; W.
Hunter, Edinburgh, 1825.
The vols. contain 25 different
cuts ; the same design appears
on both their title - pages.
Though W. Clarke was the
editor of and chief contribu-
tor to "The Cigar," a re-
issue in one vol. of the
greater part of its contents,
containing all the cuts except
those on pp. 99 and 378, vol.
i., and pp. 259 and 378, vol.
ii., states that "The Cigar"
is "by George Cruikshank,
author of 'Three Courses
and a Dessert ' " !), 231.

" Cinderella and the Glass
Slipper, edited and illustrated
with ten subjects, designed
and etched on steel, by George
Cruikshank " (London : David
Bogue, 1854), 57, 153. See
Royal Academy, 1854, 1859.

Clarke, William (born 1800, died
1838), 215, 228, 231. See
Cigar, Three Courses.

Clarke, Mrs Mary Anne (nee
Thompson, born 27 June
1771), married Clarke a stone-
mason in 1794. In 1803 she
appears to have been set up
in the world of fashion by the
Duke of York, whose mistress
she became. In 1809 her
practice of accepting bribes
from those desiring military
promotion scandalised the

House of Commons, and com-
pelled the Duke to resign the
post of Commander-in-Chief
of the British army. She
died 21 June 1852. Author
of " The Rival Princes " (2
vols., London : C. Chappie,
1810), 4, 26-27. See Mrs,
Return, Woman.

Clarke, Mary Cowden, 152. See
Kit.

" Clement Lorimer, or, the Book
with the Iron Clasps. A
Romance by Angus B.
Reach " (London : David
Bogue, 1849 ; first published
in 6 parts), 107, 109.

Cobbett, William (born March
1762, died 18 June 1835.
Author of " History of the
Regency and Reign of King
George the Fourth " [Lon-
don : William Cobbett, 1830]),
8, 35, 235. See Cobbett at.

Cobbett at Court, or St James's in
a bustle (extracted from No.
III. of " The Censor." Pub.
by W. Deans, Catherine St.,
Strand, 16 Oct. 1807), 32.

Collier, John Payne, 130. See
Punch and Judy.

Columbus and the Egg, 191.

Comic Almanack (19 vols., 1835-
1853. The first six, 1835-
1840, were published by Tilt.
The next three, 1841-1843,
were published by Tilt &
Bogue. The remaining vols.,
1844-1853, were published by
David Bogue. The following
is an abridged copy of the
words of the first title-page :
" The Comic Almanack for
1835 : an Ephemeris in jest
and earnest ... by Rig-
dum Funnidos, Gent. A-
dorned with a dozen of ' right
merrie' cuts, pertaining to the
months, sketched and etched

258

BIBLIOGRAPHICAL INDEX

by George Cruikshank, and
divers humorous cuts by other
hands. London : Imprinted
for Charles Tilt, Bibliopolist,
in Fleet Street. Vizetelly,
Branston & Co., Printers,
Fleet Street "), 32, 35, 39-40,
41, 52, 53, 196, 211-212, 224.
See Guys.

" Comic (A) Alphabet, designed,
etched, and published by
George Cruikshank, No. 23
Myddelton Terrace, Penton-
ville,i836,"i8o (Socrates),181.
Comic Composites for the Scrap
Book (published by S. W.
Fores, circa 1821-1822. 2nd
state published i June 1829
by W. B. Cooke), 141, 142.
Composites. See Comic Com-
posites.

Coriolanus addressing the Ple-
beians (caricature published
27 Feb. 1820 by G. Hum-
phrey), 4, 35.

Coronation (The] of the Empress
of the Nai rs (in " The Scourge, ' '
i Sept. 1812), 24.
Cowper, William, 183, 213.

See Diverting.

Cow (The) Pox Tragedy. Scene
the Last (caricature published
1812 in " The Scourge,"
Aug. 1812), 31.
Crinolines, 32.
Cruikshank, Miss Eliza (died

young), 112 .

Cruikshank, Mrs Eliza (nee
Widdison, who married George
Cruikshank, 7 March 1850),
H2, 113, 248. See Original.
Cruikshank, George. For Bib-
liographies of his works, see
Catalogue, Reid, Three
Cruikshanks, Works. For
Biographies of him and kin-
dred works, see Bursill's,
Jerrold (Blanchard), Layard,
Memoir, Meynell, Sala,

Stephens. For literary
and artistic volumes by him,
see Artist, Bands, Betting,
Cinderella, Cruikshankiana,
Discovery, Drawings, Few,
George Cruikshank's (4 items),
Glass, Handbook, History of
J ack, Hop - o' - my - thumb,
Illustrations of Time, Jack,
My, Phrenological, Pop-Gun,
Puss, Scraps, Slice, Stop.
For pictures exhibited by
him, see Royal Academy.
For portraits of him, see
frontispiece, 15, 27, 35, 47,
111,112,131. Themonument
to him, which includes a bust
of him, in the crypt of St
Paul's Cathedral, was designed
and executed by J ohn Adams
Acton. A. Clayton sold a
bust of G. Cruikshank to the
National Portrait Gallery.
There is an engraved portrait
of him, full of character, by
D. J . Pound, from a photo, by
John and Charles Watkins,
Parliament St. For his re-
sidences, see 10.

Cruikshank, Isaac (born 1756 ?,
died 1810 or 1811), 10, n,
iii. See Facing.

Cruikshank, Isaac Robert (born
1789 or 1790, died 1856), 46,
47, 60, 67, in, 200, 213.

Cruikshank, Percy, 60, 65.

"Cruikshankiana: An Assem-
blage of the Most Celebrated
Works of George Cruikshank "
(London : Thomas McLean,
1835), 233.

Crusoe, Robinson. See Life and.

Cumberland, Duke of (Ernest
Augustus, fifth son of George
III.), 139-140.

D'Aiguille, P.", 27.
Daniel in the Lion's Den, n.
See Child's Christmas.

259

GEORGE CRUIKSHANK

Daumier, Honore (born 26
Feb. 1808, died n Feb. 1879.
His extraordinary industry,
evidenced by the fact that the
catalogue of his lithographed
works alone enumerates 3958
plates, reminds us of George
Cruikshank), 176, 179.

Davenport, Samuel (line en-
graver, born 10 Dec. 1783,
died 15 July 1867 ; he was
one of the earliest to engrave
on steel).

Defoe, Daniel. See Life and,
Journal.

Delort, C., 90.

Demonology. See Twelve.

Design for a Palace. See Palace.

Devil (The), 18-19, 116.

Dibdin, Charles. See Songs.

Dickens, Charles (" Boz," born
7 Feb. 1812, died 9 June 1870),
99, 195, 224, 231-232. See
Oliver, Sketches, Sir Lionel.

" Dick Whittington and his
Cat " (a Banbury Chap-Book
designed by Cruikshank,
engraved by Branstone
[writes Edwin Pearson], and
published by [? J . G.] Rusher
about 1814. George and
Robert Cruikshank designed
and etched the folding
coloured frontispiece to
" History of Whittington and
His Cat," published by Dean
& Munday, Threadneedle
St., 1822), 155.

" Dictionary (A) of the Slang and
Cant Languages " (London :
George Smeeton, 1809), 46.

Dinner (The) oftheFour-in-Hand
Club at Satthill (caricature by
George Cruikshank, published
in " The Scourge," i June
1811, by M. Jones), 51.

Dirks, Gus, 212.

" Discovery (A) Concerning
Ghosts; with a rap at the

260

' Spirit- Rappers,' by George
Cruikshank. Illustrated with
Cuts. Dedicated to the 'Ghost
Club ' " (London : Frederick
Arnold, 1863), 59-60, 116.

Distant (A) View of Shake-
speare's Cliff, Dover, 107.

Disturbing the Congregation (oil-
painting painted in 1848 for
the Prince Consort), 240.

" Diverting (The) History of
John Gilpin. Showing how
he went farther than he in-
tended and came safe home
again," with six illustrations
by George Cruikshank (Lon-
don : Charles Tilt, 1828), 213.

Don Quixote 199-200, 201. See
History and Illustrations of
Don.

Dots. See Striking.

Douglas, Capt. R. J. H., 16.
See New Union, Works.

Doyle, Richard (born 1824,
died 10 Dec. 1883), 4.

" Drawings by George Cruik-
shank prepared by him to
illustrate an intended auto-
biography. Published for Sir
Benjamin Ward Richardson
by Chatto & Windus, 214
Piccadilly, London, J anuary
2ist, 1895," 59, 108.

" Drunkard (The), a Poem," by
John O'Neill, with illustra-
tions by George Cruikshank
(London : Tilt & Bogue, 1842),
52, 55.

" Drunkard's (The) Children, a
Sequel to The Bottle in eight
plates, by George Cruikshank
(London : published July ist,
1848, by David Bogue), 55, 57.

Dumas, Alexandra (pere), 94.

Du Maurier, George Louis Pal-
mella Busson (born 6 March
1834, died 8 Oct. 1896), 43,
176, 196.

Dunstan, St.,122,123. S^True.

BIBLIOGRAPHICAL INDEX

Dussek, O. B. See Fairy Songs. \ Fairies. See " George Cruik-

Dutton, Thomas. See Monthly.

Education. See Few.

Egan, Pierce (born 1772, died
1849), 46.

Ehrhart, S. D., 162.

" 1851 : or The Adventures of
Mr and Mrs Cursty Sandboys."
See World's.

Elizabeth, Princess (afterwards
Queen of England), 85.

' ' Elysium (The) of Animals :
A Dream. By Egerton
Smith " (London : J. Nisbet,
1836. The etching by Geo.
Cruikshank entitled The
Knackers [sic] Yard, or the
Horses [sic] last home ! here
contains the notice " Licensed
for Slaughtering Horses"), 220.

Etching. 236, 239.

" Every- Day (The) Book, or
Everlasting Calendar of Pop-
ular Amusements, Sports,
Pastimes, Ceremonies, Man-
ners, Customs, and Events,
Incident to each of the Three
Hundred and Sixty - Five
Days, in Past and Present
Times," by William Hone
(2 vols., London : Hunt &
Clarke, 1826-7. " The Table
Book," by William Hone
[2 vols., London : Hunt &
Clarke, 1827-8] is associated
with " The Every- Day Book "
in a collective title-page
[1831], 85.

Facing the Enemy (caricature
published at Ackermann's
Gallery, 1797-8. Mr A. M.
Broadley has an impression
of this caricature on which
George Cruikshank has
written " etched by Ik.
Cruikshank not any by me
G. Ck."), 12.

shank's Fairy Library."
Fairy (The) Ring, 160, 240.
" Fairy Songs and Ballads for
the Young. Written, com-
posed and dedicated to Her
Royal Highness The Princess
Royal, by O. B. Dussek. In
Two Books " (London :

D'Almaine & Co.), 155.
f, 48, 135. S^Lifeoi
Farrow, G. E., 216.

Falstaff, 48, 135. See Life of Sir.

Fashion, 7, 31-2, 33, 37. See
Monstrosities of 1816, Mon-
strosities of 1826, Mushroom.

Fat (The) in the Fire, cut at end
of " ' Non mi Ricordo ! ' &c.
&c. &c." (London: William
Hone, 1820), 4.

" Few (A) Remarks on the
System of General Education
as prepared by the National
Education League, by George
Cruikshank, with a second
edition of A Slice of Bread
and Butter, upon the same
subject, with cuts " (London :
William Tweedie, 1870), 59.

Fielding, Henry, 183, 188. See
Adventures of Joseph, Illus-
trations of Smollett, Tom.

" Fireside Plate (The)," an
etching for " Oliver Twist," 9.

First (The) Appearance of
William Shakespeare, on the
stage of " The Globe," sur-
rounded by part of his Dramatic
Company, the other members
coming over the hills. (De-
signed by George Cruikshank,
Jan. 1863. The drawing in
the South Kensington
Museum was done by our
artist in 1864-5, and is " from
the original water color
drawing by George Cruik-
shank, in the possession of T.
Morson, Esq., Junr." A
replica of the design for Mr

CJ-

26l

GEORGE CRUIKSHANK

Morson was " printed in

wards George ..IV. -(born 12

permanent pigments " by the

Aug. 1762, died 26 June

Autotype Fine Art Co., Ltd.,

1830), 4, 8, 19, 22-26, 35, 133.

and published by them at

See Boney's Meditations,

36 Rathbone Place, London.

Coriolanus, Coronation, Fat,

No. 10,081 of the George

John Bull Advising, Kick,

Cruikshank coll. at the South

Meditations, Princely Agility,

Kensington Museum is a

R[egen}t, Results, Wright

smaller version of the_ same

(Thomas).

design with a different "colour

" George, Cruikshank's Fairy

scheme signed " George

Library" (4 numbers, London :

Cruikshank, 1876 "), 187.

David Bogue, 1853, 1854,

See Royal Academy, 1867.

1864), 57 and 153 (Cinderella),

Fitting out Moses for the Fair.

59, 74 (Hop-o'-my-Thumb),

See Royal Academy, 1830.

155-156, 157, 159 (Jack and

Fitzherbert, Mrs, 17, 22.

the Beanstalk).

Flight, Edward G. See True.
Flying Machines, 40.

"George Cruikshank's Magazine"
(Edited by Frank E. Smedley.

Fores, S. W., publisher. 50

London : D. Bogue, 1854,

Piccadilly, boasted " an Ex-

Jan. and Feb.), 39 (Passing

hibition of the compleatest

Events), 44, 59, 217, 224.

Collection of Caricatures in

" George Cruikshank's Omnibus.

Europe," 243.

Illustrated with one hundred

Four-in-hand Club. See Dinner.

engravings on steel and wood.

Frankum, Richard, 148. See Bee.

Edited by Laman Blanchard,

Frederick, Duke of York and

Esq." (London : Tilt &

Albany, second son of George

Bogue, Fleet Street, 1842.

III. (born 16 Aug. 1762, died

First issued in 9 monthly

5 Jan. 1827), 23, 26. See

parts, the first for May 1841

Clarke, Mrs Mary Anne ; Osna-

the last for Jan. 1842).

burg ; Return to Office.

Frontispiece, 20, 35, 43, 216.

Frederick the Great, 74.

"George Cruikshank's Table

French Musicians, or Les Savo-

Book " (Edited by Gilbert

yards (an etching. London: G.

Abbott a Beckett." London :

Humphrey, 16 June 1819), 100.

published at the Punch Office,

French Republic. See Leader.

92 Fleet St., 1845. First

Funnidos, Rigdum. See Comic

issued in 6^12 monthly

Almanack.

numbers from Jan. to Dec,

1845), 35> 40, 43, 147, 177,

" Gentleman (The) in Black,"

180 and 185 (The Lion of

by John Yonge Akerman
(London : William Kidd,

the Party), 223-224.
" German Popular Stories,

1831), 60, 125.

translated from the Kinder

" Gentlemen's (The) Pocket

und Haus Marchen, collected

Magazine and Album of

by M. M. Grimm from Oral

Literature and Fine Arts "

Tradition " (London : C.

(London : Joseph Robins,

Baldwyn, 1823, but issued

1827-1829), 96.

1822 ; vol. ii., London :

George, Prince of Wales, after-

James Robins & Co. ; Dublin :

262

BIBLIOGRAPHICAL INDEX

Joseph Robins, Jun., & Co.,
1826. The etchings were so
skilfully imitated in Cruik-
shank's lifetime that he at
first sight imagined the copies
in question to be impressions
from the lost plates etched by
him), 144, 145, 147, 152.

German Romance. See Speci-
mens.

Ghosts, 31, 59-60, 136, 139-140.
See Discovery.

Gibson, Charles Dana, 176.

Gil Bias, 199. See Adventures
of Gil.

Gillray, James (born 1757, died
i June 1815), 7, 8, n, 16-18,
21, 31, 166, 225. See Grego.

Glascock, Capt. (R.N.), 139.
See Land Sharks.

"Glass (The) and the New
Crystal Palace. By George
Cruikshank, with cuts " (Lon-
don: J. Cassell), 58-59, 62, 63.

Goldsmith, Oliver, 183, 191.
See Illustrations of Smollett,
Royal Academy 1830, Vicar.

Goles'( = Golls ; go'll means hand),

23-

Good (The] Effects of Carbonic
Acid Gas (caricature pub-
lished by S. W. Fores, 10
Dec. 1807), 31.

Good (The) Genius that
turned everything into gold,
or, The Queen Bee and the
Magic Dress, A Christmas
Fairy Tale, by the Brothers
Mayhew, with illustrations by
George Cruikshank " (called
on the paper cover, " Books
for the Rail, the Road, and the
Fireside. II. The Magic of
Industry." London : David
Bogue, 1847), 148, 149, 150.

Gorey, 95.

Gould, Sir Francis Carruthers, 4.

" Greatest (The) Plague of
Life : or The Adventures of

a Lady in Search of a Good
Servant. By One who has
been ' almost worried to
death.' Edited by the Brothers
Mayhew. Illustrated by
George Cruikshank " (Lon-
don : David Bogue, 1847.
First issued in 6 parts),
176, 219, 221.

" Greenwich Hospital, a series
of Naval Sketches, Descriptive
of the Life of a Man-of- War's
Man. By an Old Sailor," by
M. H. Barker (London:
James Robins & Co. ; Dublin :
Joseph Robins, Junr., & Co.,
1826 ; first issued hi four
parts, Demy 4to), 95.

Grego, Joseph (author of " The
Works of James Gillray, The
Caricaturist, edited by Thomas
Wright, Esq., M.A., F.S.A."
[London : Chatto & Windus,
1873], also of " Rowlandson
the Caricaturist " [2 vols.,
Chatto & Windus, 1880], Mr
Grego died J an. 24, 1908), 166.
See Oliver.

Grimaldi, Joseph (born 18 Dec.
1779, died 31 May 1837).
See Memoirs of Joseph.

Grimm, Jacob Ludwig Carl and
Wilhelm Carl (brothers), 43,
144, 159. See German.

Guy, 39 and 85 (Guys in
Council, in "The Comic Al-
manack," 1838), 85 (Guy for
" The Every- Day Book ").

" Guy Fawkes ; or, The Gun-
powder Treason. An His-
torical Romance by William
Harrison Ainsworth," (3 vols.,
London : Richard Bentley,
1841. It came out in
" Bentley's Miscellany," vols.
vii., viii., ix., x., 1840-1841),
85-86, 140.

" Guy Mannering," by Sir
Walter Scott, 197.

263

GEORGE CRUIKSHANK

Hall, Samuel Carter. See Old
Story.

Hamilton, Walter, 112, 231.
See Memoir of.

Hancock, Charles, 243. Sec
Handbook.

" Handbook (A) for Posterity :
or Recollections of Twiddle
Twaddle by George Cruik-
shank about himself and
other people. A series of
sixty-two etchings on glass
with descriptive notes "
(London : W. T. Spencer,
1896. The notes are by
Charles Hancock), 243
(quoted).

Harley, Robert (Earl of Oxford,
born 1661, died 21 May 1724),
91.

Hastings, 107.

Headache (The) (caricature
published by G. Humphrey,
12 Feb. 1819), 166.

Henry VIII., 24, 90, 137.

Hepenstall, Lieut., 94-95.

Hermit. See Peeps,

Herne, 90, 135, 136, 137.

Hertford, Marchioness of, 4, 24.
See Coronation.

" Historical (An) Account of the
Campaign in the Netherlands
in 1815, "by William Mudford
(London: Henry Colburn, 1847.
The late Edwin Truman,
M.R.C.S., as famous for his
Cruikshank collection as for
his success in purifying gutta-
percha, states on the mount
of the original etched plate of
"The Battle of Waterloo,"
for this book, that he con-
siders it the most valuable
Slate in his collection), 71.
istory (The) and Adventures
of the Renowned Don Quixote:
from the Spanish of Miguel De
Cervantes Saavedra. By T.
Smollett, M.D. To which is

prefixed a memoir of the
author by Thomas Roscoe.
Illustrated by George Cruik-
shank. In three volumes "
(London : Effingham Wilson ;
Dublin : W. F. Wakeman ;
Edinburgh : Waugh & Innes,
1833 ; being vols. xiii., xiv.,
xy. of " The Novelist's
Library, edited by Thomas
Roscoe, with illustrations by
George Cruikshank "), 199,
201. See Illustrations.

" History (A) of Egyptian
Mummies, and an Account of
The Worship and Embalming
of the Sacred Animals by the
Egyptians ; with Remarks on
the Funeral Ceremonies of
Different Nations, and Obser-
vations on the Mummies of the
Canary Islands, of the ancient
Peruvians, Burman Priests,
&c. By Thomas Joseph
Pettigrew, F.R.S., F.S.A.,
F.L.S." (London : Long-
man, Rees, Orme, Brown,
Green, and Longman, 1834),
244.

" History (The) of Jack and
the Beanstalk, edited and
illustrated with six etchings,
by George Cruikshank "
(London : David Bogue, 1854),

the Irish Rebellion
in 1798 ; with memoirs of the
Union, and Emmett's Insur-
rection in 1803. By W. H.
Maxwell, Esq." (London :
Baily, Brothers, Cornhill,
1845 ; first published in
15 parts), 93.

Hoffmann, Ernst Theodor
Wilhelm, author of " Meister
Floh " (Master Flea), which
George Cruikshank illustrated
in " Specimens of German
Romance " (vol. ii., 1826), 151

264

BIBLIOGRAPHICAL INDEX

Hogarth, William (born 1697,
died 26 Oct. 1764), 8, 77, 78,
243. See Trusler.

Hone, William (born 1779, died
6 Nov. 1842), 28, 35. See
Every-Day, Non, Queen's.

Hood, Thomas (born 1798, died
3 May 1845), 165.

" Hop-o'-my- Thumb and The
Seven-League Boots. Edited
and illustrated with six
etchings by George Cruik-
shank " (London : David
Bogue, 1853), No. I. of
" George Cruikshank's Fairy
Library"), 74, 156.

Hoskyns, C. W., 208. S^Talpa.

" House and Home," Part viii.,
New Series, Oct. 1882 (No.
for Sept. 29, 1882. London :
E.G.)., 69.

Humour, 165.

" Humourist (The), A Collec-
tion of Entertaining Tales,
Anecdotes, Epigrams, Bon
Mots [sic], &c. &c." (4 vols.,
London : J. Robins & Co.,
1819-1820. First issued in
numbers), 35, 72-73, i79,
205, 209, 211, 213.

Humphrey, H., publisher, 20.

Hunt, Robert. See Popular.

Hyde Park, 3, 171.

" Illustrations of Don Quixote,
in a series of fifteen plates,
designed and etched by
George Cruikshank" (London:
Charles Tilt, 1834), 199-200,
201.

" Illustrations of Popular
Works. By George Cruik-
shank" (Part I., without
successor. London : pub.
for the Artist by Longman,
Rees, Orme, Brown & Green,
1830. George Cruikshank
dedicates this work to H.R.H.
Prince Augustus Frederick,

Duke of Sussex), 116, 191-192,
193. See Beauties.

" Illustrations of Smollett,
Fielding, and Goldsmith, in a
series of forty-one plates,
designed and engraved by
George Cruikshank. Accom-
panied by descriptive ex-
tracts " (London : Charles
Tilt, 1832), 188, 189.

" Illustrations of Time. By
George Cruikshank " (Lon-
don : published May ist,
1827, by the Artist, 22
Myddelton Terrace, Penton-
ville), 184, 225.

Imperial (The) Family Going to
the Devil (caricature pub-
lished i March 1814, by T.
Hughes, Ludgate Hill), 19.

" Impostor (The) Unmasked ;
or, the New Man of the People ;
with anecdotes, never before
published [sic], illustrative of
the character of the renowned
and immaculate Bardolpho.
Inscribed without permission,
to that superlatively honest and
disinterested Man, R. B.
S-r-d-n, Esq." (London :
Tipper & Richards, 1806.
Bardolph was a nickname of
R. B. Sheridan), 15.

Inglis, Henry David (died 20
March 1835), 200. See
Rambles.

" Ingoldsby (The) Legends or
Mirth and Marvels, by
Thomas Ingoldsby, Esquire "
(London : Richard Bentley,
1840, 1842, 1847. The author
was Rev. Richard Harris
Barham), 117, 119, 175
(Lady Jane).

Interior View of Hayloft, etc., in
Cato Street, occupied by the
Conspiratars (etching pub-
lished by G. Humphrey, 9
March 1820).

265

GEORGE CRUIKSHANK

" Interior View of the House of
God (caricature published in
" The Scourge," i Nov. 1811),
27.

Ireland, 93-95.

Irish Rebellion. See History of
the.

Irving, Washington. See
Beauties.

" Italian Tales. Tales of
Humour, Gallantry, and
Romance, selected and trans-
lated from the Italian, with
sixteen illustrative drawings
by George Cruikshank "
(London : Charles Baldwyn,
Newgate St., 1824. The
words " Italian Tales " are not
printed on the title-page of
the second edition. The
suppressed plate is The Dead
Rider, not to be confounded
with the etching of the same
title, representing two friars,
each on horseback), 166.

Jack and the Beanstalk. See
History of Jack.

"Jack Sheppard. A Romance.
By W. Harrison Ainsworth,
Esq." (3 vols., London :
Richard Bentley, 1839), 77-78,
79, 80, 104.

Jenner, Edward (M.D., born
1749, died 1823), 31.

Jerrold, Blanchard, author of
" The Life of George Cruik-
shank in two epochs " (new
ed., London : Chatto &
Windus, 1898), 46, 231.

Jerrold, Douglas William (born
3 Jan. 1803, died 8 June
1857), 165. See Cakes.

Jersey, Frances, Countess of, 4.

Johannot, Tony (born 9 Nov.
1803, died 4 Aug. 1852), 89.

John Bull Advising with his
Superiors (print pub. by S.
W. Fores, 3 April 1808). 23.

John Bull's Three Stages, or
from Good to Bad, and from
Bad to Worse (caricature pub-
lished in " The Scourge " for
March 2, 1815), 27.

Johnny Bull and his Forged
Notes !! or Rags and Ruin in
the Paper Currency!!! (cari-
cature published Jan. 1819 by
J. Sidebotham, 287 Strand),
28, 29.

" Journal (A) of The Plague
Year ; or Memorials of the
Great Pestilence in London,
in 1665. By Daniel De Foe "
(London : John Murray, 1833),
96, 97, 104.

Juliet and the Nurse (In Reid
2732, George Cruikshank coll.,
British Museum, are in-
cluded a plain and a coloured
lithograph signed " G. Ck.
feet. 1815." In MS. below
each design are the words
" Juliet and the Nurse. Pubd.
by G. Cruikshank, 117 Dorset
St., City, 1815." The nurse
is enormous and seated ;
Juliet stands behind her at
left. Reid 2733, a coloured
unsigned, undated lithograph
without publisher's name, has
a printed footline — "Juliet
and the Nurse." Juliet stands
at the right of the nurse and
there is a curtain at left. The
figures are the same as in
Reid 2732, and Reid says
that the design [Reid 2733]
is copied from a Spanish
sketch or etching), 184.

Juvenile Monstrosities (carica-
ture published by G.
Humphrey, 24 Jan. 1826.
Reprinted in " Cruikshank-
iana"), 32, 33.

Karslake, Frank, 107.
Kean, Edmund, 184.

266

BIBLIOGRAPHICAL INDEX

Keene, Charles Samuel (born
10 Aug. 1823, died 4 Jan.
1891), 43.

Kick (A) from Yarmouth to
Wales ; or The New Rowly
Powly (print pub. by J.
Johnston, 1812. A publica-
tion exists entitled " R-y-1
Stripes ; or, a Kick from
Yar-h to Wa-s " [London :
E. Wilson, 1812]), 24.

Kidd, William, 60.

" Kit Barn's Adventures ; or,
the Yarns of an Old Mariner.
By Mary Cowden Clarke "
(London : Grant & Griffith,
1849), 152.

Knacker's (The) Yard, 220. See
Elysium, Voice.

Konigsmark, 74.

Ladies Buy your Leaf !! (carica-
ture by G. Cruikshank, pub.
July 1822 by Fairburn, Broad-
way : Irish Chairman), 171.

Lambert, Daniel, 73.

Lambeth, 86.

" Lambkin, Mr." See Bachelor's.

Landells, C. (wood-engraver.
The only Landells famous as
a wood-engraver in Cruik-
shank's working-life is
Ebenezer Landells, born 13
April 1808, died i Oct. 1860.
Therefore, though " C. Lan-
dells " is on the title-page of
" The Gentleman in Black "
[1831], I suggest that the cuts
facing pp. 53, 95, of which the
latter is clearly signed " Lan-
dells " tout court, are by
Ebenezer Landells), 126.

Landells, Ebenezer. See Lan-
dells, C.

" Landscape- Historical Illus-
trations of Scotland, and the
Waverley Novels : from draw-
ings by J. M. W. Turner, Pro-
fessor, R.A., Balmer, Bentley,

Chisholm, Hart, A.R.A.,
Harding, McClise, A.R.A.,
Melville, etc. etc. Comic
Illustrations by G. Cruik-
shank. " Descriptions by the
Rev. G. N. Wright, M.A.,
&c." (2 vols., Fisher, Son,
& Co., London, Paris, and
America, 1836-8. Cruik-
shank's etchings appear in
the same publisher's edition
in 48 vols. of " Waverley
Novels " [1836-8] and they
are dated 1836, 1837, 1838),
169, 175, 192, 197, 237.5

Landseer, Charles, 240.

" Land Sharks and Sea Gulls."
By Captain Glascock, R.N.
(3 vols., London : Richard
Bentley, 1838), 139, 191.

Lang, Andrew, 231.

Latham, O'Neill, 162.

Layard, George Somes, author
of " George Cruikshank's Por-
traits of Himself " (London :
W. T. Spencer, 1897), 15, 35,
120, 247.

Leader (The) of the Parisian
Blood Red Republic of 1870, or
The Infernal Fiend (cari-
cature designed, etched and
published by George Cruik-
shank, June 1871), 3.

"Legend (A) of the Rhine,"
196.

Leloir, Maurice, 94.

Le Sage, Alain Rene, 183. See
Adventures of Gil.

Lever, Charles James (born
1806, died 1872), 196.

" Life (The) and Surprising
Adventures of Robinson
Crusoe, of York, Mariner.
With introductory verses by
Bernard Barton, and illus-
trated with numerous en-
gravings from drawings by
George Cruikshank, expressly
designed for this edition "

267

GEORGE CRUIKSHANK

(2 vols., London : John Major,
1831), 241.

Life in London ; or, the Day
and Night Scenes of Jerry
Hawthorn, Esq. and his
elegant friend Corinthian Tom,
accompanied by Bob Logic,
the Oxonian, in their Rambles
and Sprees through the Metro-
polis. By Pierce Egan,
author of ' Walks through
Bath,' ' Sporting Anecdotes,'
' Pictures of the Fancy,'
' Boxiana,' &c. Dedicated
to his most gracious majesty
King George the Fourth.
Embellished with thirty-six
scenes from real life, designed
and etched by I. R. and G.
Cruikshank ; and enriched
also with numerous original
designs on Wood, by the same
Artists " (London : Sher-
wood, Neely, & Jones, 1821.
First issued in 12 monthly
parts, the first on 2 Oct. 1820,
the last in July 1821), 46-47,
49, 67.

Life in Paris ; comprising the
Rambles, Sprees, and Amours
of Dick Wildfire, of Corinthian
Celebrity, and his Bang-up
Companion, Squire Jenkins
and Captain O'Shuffleton ;
with the whimsical Ad-
ventures of the Halibut
Family ; including Sketches
of a Variety of other Eccentric
Characters in the French
Metropolis. By David Carey.
Embellished with Twenty-one
Coloured Plates, representing
Scenes from Real Life, de-
signed and engraved by
George Cruikshank. En-
riched also with Twenty- two
Engravings on wood, drawn by
the same Artist, and executed
by Mr White " (London :

268

John Fairburn, 1822. It was
issued in parts), 46-47.

" Life (The) of Mansie Wauch,
Tailor in Dalkeith, written by
himself. A new Edition re-
vised and greatly enlarged.
With eight illustrations, by
George Cruickshank [sic].
William Blackwood & Sons,
Edinburgh : and Thomas
Cadell, London, 1839 " (The
author is David Macbeth
Moir), 175.

" Life (The) of Napoleon, a Hudi-
brastic Poem in fifteen cantos,
by Doctor Syntax, embel-
lished with thirty engravings
by G. Cruikshank." (Lon-
don : T. Tegg, III. Cheap-
side, Wm. Allason, 31 New
Bond Street, and J. Dick,
Edinburgh, 1815. Until H.
R. Tedder wrote in " Dic-
tionary of National Biog-
raphy" that 'The Life of
Napoleon " had been " wrong-
fully ascribed," the author
was generally supposed to be
William Combe, who wrote
" The Tour of Doctor Syntax
in Search of the Picturesque,"
etc.), 21 (The Red Man), 7 1-7 2.

" Life (The) of Sir John Falstaff.
Illustrated by George Cruik-
shank. With a biography of
the knight from authentic
sources by Robert B. Brough "
(London : Longman, Brown,
Green, Longmans, and Roberts,
1858. First issued in 10
monthly parts, 1857-8), 184.

Lilla (A long-eared spaniel. In
the South Kensington
Museum is a pretty pencil
sketch, 9784 F, entitled
George Cruikshank' s Godson,
George Cruikshank Pulford,
and his dear little pet dog
Lilla, and another pencil

BIBLIOGRAPHICAL INDEX

sketch, 9611 B, entitled My
little pet dog Lilla), 223.

Lines. See Striking.

Linse, Jan, 171.

Locker - Lampson, Frederick,
159-160.

London 36, 46, 47, 96-107.
See Life in London.

London Hermit. See Peeps.

Lottery Print, 15. See Children's
Lottery.

Louis XVIII. (born 1755, died
1824), 7. See Old Bumblehead.

Lowell, James Russell, 234.

" Loving (The) Ballad of Lord
Bateman, with xi. Plates by
George Cruikshank " (Lon-
don : Charles Tilt ; Con-
stantinople ; Mustapha Syried,
1839. G. Cruikshank's draw-
ing [for his contemplated
autobiography] entitled " The
Loving Ballad of Lord Bate-
man," appears in " Draw-
ings by George Cruikshank "
[1895. See Drawings]), 229,
231-232.

" Loyalist's (The) Magazine."
See Caroline.

Mackay, Dr Charles, 55.

Maclise, Daniel (died April
1870), 239.

Magdalen. See Woman, 27.

Making Decent ! ! (Caricature
published by G. Humphrey,
8 Aug. 1822. Invented by
Capt. Marryat whose signa-
ture is an anchor. G. Cruik-
shank, feet.), 171.

Mansie Wauch. See Life of
Mansie.

Marchmont, Frederick. See
Cigar, Three Cruikshanks.

Marlborough, John Churchill,
Duke of (born 1650, died
1722), 90.

Marryat, Capt. Frederick (born
10 July 1792, died 2 Aug.

1848), 95, 166, 171. See
Making, Progress.

Mary I., Queen of England, 83.

Mathew, Father Theobald
(born 1790, died 1857), 48.

Maxwell, William Hamilton, 93,
219. See History of the.

Mayhew, The Brothers, 149,
151. See Good Genius,
Greatest.

Mayhew, Henry. See World's.

Mayor (The) of Hole-cum-Corner
(frontispiece to vol. i. of
Douglas Jerrold's " Cakes and
Ale " [1842]), 204.

Meditations Amongst the Tombs
(print pub. i May 1813, by
J. Johnston), 24.

" Melange (The), a variety of
Original Pieces in Prose and
Verse; comprising the Elysium
of Animals. Illustrated by
engravings." (By Egerton
Smith. Liverpool : Egerton
Smith & Co., 1834), 220.

Melville, H., 120.

" Memoir (A) of George Cruik-
shank, Artist and Humourist.
With numerous illustrations
and a £i Bank Note. By
Walter Hamilton, F.R.G.S."
(London : Elliot Stock, 1878.
Students should get the 2nd
edition, also dated 1878,
which contains additional
matter), 112, 231.

" Memoirs of Joseph Grimaldi.
Edited by ' Boz.' With
illustrations by George Cruik-
shank. In two volumes"
(London : Richard Bentley,
1838), 195.

" Memoirs of the Life and Writ-
ings of Lord Byron. By
George Clinton, Esq." (Lon-
don: James Robins & Co.,
1825. Two editions are of
this date ; one has 43 plates,
the other 40), 134, 195,

269

GEORGE CRUIKSHANK

"Merry (The)
Windsor," 191.

Wives of

" Meteor (The), or Monthly
Censor " (vol. i. and 2 Nos.
of vol. ii., London : printed by
W. Lewis, and sold by T.
Hughes, 1814), 35, 129.

Meynell, Mrs Alice (author
under her maiden name of
" A Bundle of Rue : Being
Memorials of artists recently
deceased, I. George Cruik-
shank." This chapter ap-
peared in " The Magazine of
Art," March 1880), 35.

Michelangelo, 120.

" Midsummer Night's Dream."
See Royal Academy, 1853.

Miller, Henry, 160.

Milton, John, 119.

"LMinor Morals for Young
People. Illustrated in Tales
and Travels. By John
Bowring. With engravings
by George Cruikshank and
William Heath" (London:
Whittaker & Co., 1834. The
same publishers in 1835
issued Part II. of this work
illustrated by George Cruik-
shank alone, who also is the
sole illustrator of Part III.,
issued in Edinburgh by
William Tait, in London by
Simpkin, Marshall & Co., and
in Dublin by John Gumming,
1839), 133.

Miser's (The) Daughter. A Tale,
by William Harrison Ains-
worth (3 vols., London : Cun-
ningham & Mortimer, 1842),
86, 87, 88.

Moir, David Macbeth (born
1798, died 1851). See Life
of Mansie.

Monstrosities. See Juvenile,
Mushroom.

Monstrosities of 1816, scene,
Hyde Park (caricature by

G. Cruikshank, pub. by H.
Humphrey, 12 March 1816), 7.

Monstrosities of 1822 (carica-
ture by G. Cruikshank, pub.
by G. Humphrey. Pub. 19
Oct. 1822), 7.

" Monthly (The) Theatrical Re-
porter, or Literary Mirror," by-
Thomas Dutton, A.M. (Lon-
don: J. Roach. 1814-15), 184.

Moore, Dr A., 71. See Annals,

Moore, Julian, 89. See Three
Craikshanks.

Moore, Thomas, 19

" More Mornings at Bow Street.
A new Collection of Humour-
ous and Entertaining Re-
ports, by John Wight of the
Morning Herald, with twenty-
five illustrations by George
Cruikshank " (London : James
Robins & Co., 1827), 47.

Mornings at Bow Street : a
Selection of the most humour-
ous and entertaining reports
which have appeared in the
Morning Herald, by Mr
Wight (Bow Street Reporter
to the Morning Herald) with
twenty - one illustrative

drawings by George Cruik-
shank " (London : Charles
Baldwyn, 1824), 47. See
Thompson, John.

" Mother Hubbard and her
Dog," a Banbury Chap-Bopk
designed by George Cruik-
shank (early work) and en-
graved by Brans ton, 155.

Mother's (A) Love. See Three.

Mottram, Charles, engraver
(born 9 April 1807, died 30
Aug. 1876). See Worship
of Bacchus, or.

Mrs Clark's Petticoat (caricature
published by S. W. Fores,
23 Feb. 1809), 26.

Mudford, William, 71. See
Historical.

2/0

BIBLIOGRAPHICAL INDEX

Mummies. See History of
Egyptian.

Munchausen. See Travels and.

Mushroom Monstrosities (carica-
ture published by G. Hum-
phrey, 24 Jan. 1826. Re-
printed in " Cruikshankiana),"
7-

"My Sketch Book," by George
Cruikshank (9 numbers pub-
lished by George Cruikshank,
23 Myddelton Terrace, Penton-
ville, 1834, 1835, 1836), 60,
108, 211, 219-220.

Nagler, Dr, 65.

Nairs. See Coronation.

Napier, Gen. Sir Charles J ames,
G.C.B. (born 10 Aug. 1782,
died 29 Aug. 1853), 103.

Napier Gen. Sir William
Francis Patrick (born 17 Dec.
1785, died 10 Feb. 1860).
See Pop-Gun.

Napoleon Buonaparte (born 15
Aug. 1769, died 5 May 1821),
3, 17-21, 71-72, 133, 159- See
Blucher, Boney, Boney's,
Boney Tir'd, Imperial, Life of
Napoleon, Napoleon's, Old
Bumblehead, Peddigree,Phenix.

Napoleon's Trip from Elba to
Paris, and from Paris to St
Helena (caricature by G.
Cruikshank appearing in " The
Scourge " for Sept. 1815).

Netherlands. See Historical.

Nevison, 77.

"New (The) Bath Guide; or
Memoirs of the B-n-r-d
Family, in a series of Poetical
Epistles : by Christopher
Anstey, Esq. ... A new
edition : with a biographical
and topographical preface,
and anecdotal annotations,
by John Britton, F.S.A., and
member of several other
societies. Embellished with

engravings " (London : Hurst,
Chance & Co., 1830), 175.

Newcastle, Duke of, 91.

Newton, Sir Isaac, 74.

New (The) Union Club. Being
a representation of what took
place at a celebrated dinner
given by a celebrated Society —
vide Mr M-r-t's Pamphlet,
More Thoughts, etc. etc. ( $ — G
Cruikshank sculpt. Pub. 19
July 1819, by G. Humphrey.
In Capt. R. J. H. Douglas's
opinion this is " the chef
d'ceuvre of George Cruik-
shank's Caricatures." It did
not impress me particularly.
It humourously satirises
William Wilberforce's Anti-
Slavery Movement).

Nield, W. A., 213.

" ' Non Mi Ricordo ! ' &c. &c.
&c." (London : William
Hone [the author], 1820).
See Fat in the Fire, also 25.

Nottage, George S. (the letter
referred to is hi the George
Cruikshank coll., South
Kensington Museum, and is
dated July 25, 1874, from the
London Stereoscopic Co.), 212.

O'Hara, Kane. See Tom.

Oil (The) painting of " The Wor-
ship of Bacchus," 13 feet 4
by 7 feet 8, being conveyed to
the National Gallery Depart-
ment of the British Museum,
April 8, 1869, 66.

Old Bumblehead the i8th
trying on the Napoleon Boots,
or Preparing for the Spanish
Campaign (caricature by G.
Cruikshank, pub. by Jno.
Fairburn, 17 Feb. 1823), 7.

Oldcastle, Sir John, 184.

Old Sailor. See Barker, M. H.

"Old (The) Sailor's Jolly Boat.
Laden with Tales, Yarns,

271

GEORGE CRUIKSHANK

Scraps, Fragments, &c. &c. To
Please all hands ; Pulled by
Wit, Fun, Humor, and Pathos,
and steered by M. H. Barker "
(London : W. Strange ; Not-
tingham : Allen ; Leicester :
Allen, 1884; first appeared
in 12 parts commencing i
May 1843), 95, 175.

" Old (An) Story, by S. C. Hall,
F.S.A., &c." (London :
Virtue, Spalding, & Co.,
1875. To this vol. George
Cruikshank contributed his
" last temperance piece "-
The Last Half Hour, engraved
by Dalziel Brothers), 69.

" Oliver Twist. By Charles
Dickens " (3 vols., London :
Richard Bentley, 1838. The
first issue of the first edition
contains the etching entitled
" Rose Maylie and Oliver "
known to collectors as " the
Fireside plate," which Dickens
disliked so much that in Oct.
1838 he wrote to Cruikshank
asking him if he would object
to design the plate afresh, the
result being the etching of
Rose and Oliver contemplat-
ing the memorial tablet to
Agnes. Nevertheless Cruik-
shank made a water-colour
drawing of " the Fireside
plate," which was published
in " Cruikshank's water-
colours with introduction by-
Joseph Grego," published by
A. & C. Black early in 1904 —
the date on title-page being
1903), 9 (" fireside plate "),
60, 99 (Mr Bumble), 103-104.

O'Meara, Dr, 27.

O'Neill, John, 52. See Drunkard.

On Guard. See Royal Academy,
1858.

O. P. (Old Prices) riots, n.

Original Sketch by George Cruik-

shank. Her Majesty and the
Prince Consort at the Ball at
Guildhall, July 1851. Mr
and Mrs George Cruikshank
passing before them and the
Prince kindly saying to her
Majesty " that is George
Cruikshank," at which her most
gracious Majesty smiled and
bowed (No. 9454 in the George
Cruikshank collection at the
South Kensington Museum.
The etching of this subject
[See No. 9454-1] was never
completed, but promised
well), 247.

Osnaburg or Osnabriick, Han-
over. On 27 Feb. 1764,
Prince Frederick, afterwards
Duke of York and Albany,
was elected to the bishopric
of Osnaburg which he re-
tained till 1803, when the
bishopric was secularised and
incorporated with Hanover.

P***y, J-» 171- See Brazen.

Palace (G. Cruikshank's De-
sign for a palace is No. 9396 A
(a sheet of paper covered on
both sides with pencil sketches
of various subjects) in the
George Cruikshank collection
in the South Kensington
Museum), 247.

" Paradise Lost," 119.

Paris. See Life in Paris.

Passing Events (etching in
George Cruikshank's Maga-
zine, Feb. 1854), 39, 224.

Patricius, 15.

Peacock, Thomas Love, 224.

Pearce, John, 69.

Pearson, Edwin, author of
" Banbury Chap-Books and
Nursery Toy Book Litera-
ture (of the eighteenth and
early nineteenth centuries)
with impressions from several

272

BIBLIOGRAPHICAL INDEX

hundred wood-cut blocks, by

Pied Piper, 159.

T. and J. Bewick, Blake,
Cruikshank, Craig, Lee,

" Pilgrim's (The) Progress, by
John Bunyan. Most care-

Austin, and others " (Lon-

fully collated with the edition

don : Arthur Reader, 1890),

containing the author's last

155. See Dick Whittington.

additions and corrections.

Peddigree [sic] (The) of Corporal
Violet (caricature published

With explanatory notes by
William Mason. And a life

by H. Humphrey, 9 June
1815), 159.

of the author, by Josiah
Conder, Esq." (Fisher, Son,

" Peeps at Life, and Studies in

& Co., London and Paris,

my Cell, by the London Her-

1838), 120.

mit " (London : Simpkin, Mar-

" Pilgrim's (The) Progress, by

shall & Co., 1875), 136, 249.

John Bunyan, illustrated with

" Pentamerone (The), or the

25 drawings on wood by

Story of Stories, Fun for the

George Cruikshank, from the

Little Ones, by Giambattista

collection of Edwin Truman,

Basile. Translated from the

with biographical introduc-

Neapolitan by John Edward

tion and indexes " (London,

Taylor. With illustrations

Edinburgh, Glasgow, and New

by George Cruikshank "

York : Henry Frowde, 1903),

(London : David Bogue, 1848),

120, 125.

151-152, 212.
" Peter Schlemihl : from the

Pin well, George John (water-
colour painter, born 26 Dec.

German of Lamotte Fouque

1842, died 8 Sept. 1875), 156.

[should be Adelbert von

" Pirate (The)," by Sir Walter

Chamisso]. With plates by

Scott, 237

George Cruikshank" (London :

" Pocket (The) Magazine.

Geo. B. Whittaker, 1823), 125,

Robins's Series " (4 vols., Lon-

126, 127.

don : James Robins & Co.,

Pettigrew, Thomas Joseph.

1827, 1828), 147.

See Augustus, History of

" Points of Humour ; illustrated

Egyptians.

by the Designs of George

Phenix [sic] (The) of Elba Resus-

Cruikshank " (London : C.

citated by Treason (caricature

Baldwyn, 1823, 1824), 73-74,

published in " The Scourge "

136, 167, 172.

for May 1815), 24.

Pop-Gun (A) fired off by George

" Phrenological Illustrations, or

Cruikshank in defence of the

an Artist's View of the Cranio-

British volunteers of 1803,

logical System of Doctors

against the uncivil attack

Gall and Spurzheim," by

upon that body by General

George Cruikshank. (Lon-

W. Napier ; to which are

don : published by George

added some observations upon

Cruikshank, Myddelton Ter-

our National Defences, Self-

race, Pentonville, 1826), 72,

Defence,' &c. &c. &c. Il-

173, 179-180.

lustrated with Cuts " (Lon-

Piccini, 130.

don: W. Kent & Co., late

" Pic Nic (The) Papers." See

D. Bogue. The British

Sir Lionel.

Museum copy is stamped

273

GEORGE CRUIKSHANK

" 10 Fe[bruary] [i8]6o "),
44, 59, 60.

" Popular Romances of the West
of England; or, The Drolls,
Traditions, and Superstitions
of Old Cornwall. Collected
and edited by Robert Hunt,
F.R.S." (2 vols., London :
J. Camden Hotten, 1865), 244.

Portland, Duke of (William
Henry Cavendish Bentinck-
Scott), 129.

Portraits (sketch made hi 1874),
212.

Pound, D. J., engraver. See
Cruikshank, George.

Poussin, Nicholas (born June
1594, died 19 Nov. 1665), 69.

Poynter, Sir Edward, 69.

Preparing John Bull for General
Congress (caricature, dated
as published Aug. i, 1813,
which appeared in vol. vi.
of " The Scourge,";i 8 1 3), 7, 43.

Prince Consort. See Albert.

Princely Agility or the Sprained
Ancle (print pub. Jan. 1812,
by J. Joh[n]ston), 98 Cheap-
side, 24.

" Progress (The) of a Midship-
man " (8 designs invented by
Capt. Marryat, etched by
George Cruikshank, published
by G. Humphrey, London,
1820), 95.

Puck, 184.

Pughe, J. S., 212.

Pulford, George Cruikshauk.
See Lilla.

" Punch and Judy, with illus-
trations designed and en-
graved by George Cruikshank.
Accompanied by the dialogue
of the puppet-show, an ac-
count of its origin, and of
puppet-plays in England "
(London : S. Prowett, 1828.
The text is by John Payne
Collier), 130, 131.

" Punch, or the London Chari-
vari," 234-

Pure, Simon, 65.

Pursuit (The) of Letters (etching
" Designed, Etched and
Published by Geo. Cruik-
shank, May 2oth, 1828," in
" Scraps and Sketches "), 212.

" Puss in Boots " (" George
Cruikshank's Fairy Library,"
No. 4, London : Routledge,
Warne, & Routledge, Broad-
way, Ludgate Hill, and F.
Arnold, 86 Fleet Street,
1864), 140, 157.

" Queen's (The) Matrimonial
Ladder," by the author of
"The Political House that
Jack Built" (London:
William Hone [the author],
1820), 25, 26. See White.

Rabelais, 166.

" Railway Readings." See
Cigar.

" Rambles in the Footsteps of
Don Quixote. By the late H.
D. Inglis, author of ' Spain ' :
' New Gil Bias, or Pedro of
Penaflor ' : ' The Tyrol ' :
' Channel Islands,' &c. &c.
With illustrations by George
Cruikshank " (London : Whit-
taker & Co., 1837), 200.

Ranelagh, 86, 89.

Raspe, R. E., creator of Baron
Munchausen," 183, 184. See
Travels.

Reach, Angus B. See Clement.

Read. See Brooks.

" Redgauntlet," by Sir Walter
Scott, 192.

Red (The) Man (engraving by
George Cruikshank in " The
Life of Napoleon," by Dr
Syntax), 21, 72.

R[egen]t (The) Kicking up a
Row, or Warwick House in an

274

BIBLIOGRAPHICAL INDEX

Uproar I ! ! (caricature by

Roscoe, Thomas. See Adven-

G. Cruikshank published 20

tures of Gil, Adventures of

July 1814, by T. Tegg. In
this caricature the Prince

Joseph, History and.
" Rose (The) and the Lily : how

Regent declares he has burst

they became the emblems of

his stays), 23.

England and France. A

Reid, George William, compiler

Fairy Tale. By Mrs Octavian

of the bibliography entitled

Blewitt. With a frontispiece

" A Descriptive Catalogue of

by George Cruikshank "

the works of George Cruik-

(London: Chatto & Windus,

shank " (3 vols., London :

1877. The etched frontis-

Bell & Daldy, 1871. Mr A.

piece bears the inscription

M. Broadley possesses " the

" Designed and Etched by

latest corrected and anno-

George Cruikshank, Age 83,

tated copy " of Reid's George
Cruikshank catalogue, " an-

1875 "), i, 134-135.
" Rose (The) and the Ring," by

notated and corrected by him,

W. M. Thackeray, 196.

in a very voluminous manner,

Rowlandson, Thomas (born

with a view to a second

1756, died 1827), 7, u, 16, 19,

edition"), 12, 16, 120, 134.
" Rejected Addresses : or, The

51, 96-97, 191. See Grego,
Joseph.

New Theatrum Poetarum,"

Royal (The) Academy of Arts

by James Smith and Horace

(George Cruikshank ex-

Smith. i8th ed. (London :

hibited in the Exhibitions

John Murray, 1833), 195.

of this Academy pictures

Rembrandt van Ryn (born 15

entitled as follows, the dates

July 1606, died 1669), 147.

being those of the exhibitions.

Renard, Simon, 82, 83.

Fitting out Moses for the fair,

Results of the Northern Excur-

1830. This picture illus-

sion (print showing George

trates " The Vicar of Wake-

IV. relieving an irritated

field." Tarn o' Shanter, 1852.

cuticle, pub. by J. Fairburn,

This picture illustrates the

8 Sept. 1822), 25.

lines —

Return (The) to Office (caricature

" And scarcely had he

by G. Cruikshank published

Maggie rallied,

in " The Scourge " for i July

When out the hellish legion

1811), 26.

sallied." — BURNS.

Richard III., 184.

A Scene from the Mid

Richardson, Sir Benjamin Ward,

summer Night's Dream —

59, 108. See Drawings.

Titania, Bottom, Mustard

Roach, J., 184.

Seed, Peas Blossom, Moth,

Robinson Crusoe. See Life and.

and Cobweb, 1853. This

Rome, King of, 72.

picture illustrates the line

" Romeo and Juliet," 184. See

" Nod to him elves, and do

Juliet.

him courtesies." Cinderella,

" Rookwood, a romance by Wm.

1854. On Guard, 1858.

Harrison Ainsworth " (Lon-

Cinderella, 1859. the

don : John Macrone, 1836),

Sober Man's Sunday, and the

75, 77-'

Drunkard's Sunday, 1859.

275

GEORGE CRUIKSHANK

The first appearance of
William Shakespeare on the
stage of the Globe, with part of
his dramatic company, in
1564, 1867), 240.

Royal (The) Aquarium, London,
69, 107, 160.

"Royal (The) Rushlight (print
published by G. Humphrey
3 March 1821), 25.

" R-y-1 Stripes." See Kick.

Rubens, Peter Paul (born 28
June 1577, died 30 May 1640),
69.

Rusher, printer of Banbury,
Oxfordshire, 155.

Ruskin, John (No. 9955 G in the
George Cruikshank collection
in the South Kensington
Museum is a pen-sketch en-
titled Mr Ruskin's Head.
The head has no beard), r47,
155-156, 159. 244, 247.

Russell, George (A. E.), 161.

Sailors, 95-96.

" Sailor's (The) Progress," series
of etched illustrations in 6
compartments, signed "I. [-
J] S. and G. CK. delt., G. CK.
sculpt.," published 10 Jan.
1818 by G. Humphrey, 95.

" S[ain]t James's or the Court
of Queen Anne. An Historical
Romance by William Harrison
Ainsworth " (3 vols., Lon-
don : John Mortimer, 1844),
90, 91.

Sala, George Augustus (author
of " George Cruikshank : A
Life Memory," in The
Gentleman's Magazine, May
1878), 15, 77.

Satan, 28, 119, 133, 134, 244.

"Satirist (The), or Monthly
Meteor " (14 vols., Lon-
don : Samuel Tipper,
1808-1814. George Cruik-
shank's signature appears to

plates in New Series, vol. iii.,

1813, vol. iv., 1814. He also
contributed plates to " The
Tripod, or New Satirist," for

1814, July i and Aug. i, the
only numbers published), 35.

Savoyards. See French.

Scale (The) of Justice Reversed
(caricature published 19
March 1815, by S. W. Fores),
5>

! Scene (A) from the Midsummer
Night's Dream. See Royal
Academy, 1853.

Schopenhauer, Arthur, 207.

Scotch Washing (Cruikshank
del., published by T. Tegg, 16
Aug. 1810), 175.

Scott, Sir Walter, 81, 139, 147.
See Landscape - Historical,
Twelve.

"Scourge (The), or Monthly
Expositor of Imposture and
Folly " (n vols., London, 1811-
1816 ; continued in 1816 as
"The Scourge and Satirist,"
of which only 6 numbers
appeared ; 7 and 43 (Pre-
paring John Bull for General
Congress), 19 (Napoleon's
Trip from Elba), 20 (Quadru-
peds), 24 (The Coronation of
the Empress of the Nairs and
The Phenix of Elba), 26
(The Return to Office), 27
(Interior View of the House
of God and John Bull's
Three Stages, 31 (The Cow
Pox Tragedy), 51 (The
Dinner of the Four-in-hand
Club), 139-140 (A Financial
Survey of Cumberland).

" Scraps and Sketches," by
George Cruikshank (4
parts [1828-1832] and one
plate [1834] published by the
Artist at 22 Myddelton [also
spelt Myddleton] Terrace,
Pentonville. In 1830 George

276

BIBLIOGRAPHICAL INDEX

Cruikshank writes that
" Scraps and Sketches " "is
the third work which I have
published on my own
account"), 35-36, 37, 39, 51,
111-112, 116, 143, 163, 172,

204, 212, 215-216, 223.

Sellis, 140.

Seymour, Jane, 90.

Shakespeare, William, 183-184,
187-188. See First, Life,
Juliet, Royal Academy, 1853,
1867.

Shakespeare's Cliff, 107, 108.
See Distant.

Sheppard, Jack, 79, 80. See
Jack.

Sheridan, Richard Brinsley
;,Butler (born Sept. 1751, died

X 7 July 1816), 15. See Impostor.

Sheringham, Lieut. John, 95.

Sir Frizzle Pumpkin. See Ad-
ventures of Sir.

" Sir Lionel Flams tead, a
Sketch," by W. Harrison
Ainsworth, identical with
" The Old London Merchant,
a Fragment," which was
Ainsworth 's contribution to
" The Pic Nic Papers. By
Various Hands. Edited by
Charles Dickens, Esq. . . .
With illustrations by George
Cruikshank, Phiz, &c. In
three volumes " (London":
Henry Colburn, 1841), 93. "

" Sketches by ' Boz,' illustrative
of every-day life, and every-
day people " (3 vols.,
London : John Macrone, 1836,
1837. Many of the illustra-
tions were enlarged and re-
etched for the edition, com-
plete in one vol., published by
Chapman & Hall in 1839, and
issued in 20 numbers), 99-
100, 101, 105, 112.

Sleap, Joseph, 35.

" Slice (A) of Bread and Butter,

Cut by G. Cruikshank.
Being the substance of a
speech delivered at a public
meeting, held for the benefit
of the Jews' and General
Literary and Mechanics'
Institute " (London : William
Tweedie), 59.

Smirke, Robert (painter, born
1752, died 5 Jan. 1845 ; the
date of his illustrations of
" Gil Bias " is 1809), 199.

Smith, Albert, 39. '

Smith, Egerton. See Elysium,
Melange.

Smith, Horace (born 1779,
died 1849). See Rejected.

.Smith, James (born 1775, died
1839). See Rejected.

Smoking, 58, 59. See Tobacco.

Smollett, Tobias, 90, 184. 188,
191. See Illustrations of
Smollett.

Sober (The) Man's Sunday, and
the Drunkard's Sunday. See
Royal Academy, 1859

Socrates, 180, 181.

" Songs, Naval and National, of
the late Charles Dibdin, with a
memoir and addenda collected
and arranged by Thomas
Dibdin, with characteristic
sketches by George Cruik-
shank " (London : John
Murray, 1841), 175, $45.

Sotheby, Wilkinson # Hodge,
13 Wellington Street, Strand,
London, W.C., 70, 108, 119,
1 60.

South Kensington Museum
( = Victoria and Albert
Museum), collection of George
Cruikshank's work, 13, in,
112, 113. See Christian, First,
Lilla, Original, Palace, Ruskin.

" Specimens of German
Romance, selected and trans-
lated [by G. Soane] from
various authors. In three

277

GEORGE CRUIKSHANK

volumes " (London : Geo.
B. Whittaker, 1826), 151
(E. T. W. Hoffmann, q.v.}.

Spencer, Walter, 107.

Spielmann, Marion H. (F.S.A.),
120.

Stays. See R[egen]t.

Steel, 192, 236.

Stephens, Frederic G. (author
of " A Memoir of George
Cruikshank," to which is
added Thackeray's Essay " On
the Genius of George Cruik-
shank," London : Sampson
Low, Marston, Searle &
Rivington, 1891), 32, 93.

Stewart, John, 66.

" Stop Thief ; or, Hints to
Housekeepers to Prevent
Housebreaking. By George
Cruikshank" (London: Brad-
bury & Evans, 1851. G. and
R. Cruikshank assisted in the
embellishment of Lieut. Col.
Baron De Berenger's " Helps
and Hints How to Protect
Life and Property " [Lon-
don : T. Hurst, 1835]), 58.

Stowe, Harriet Beecher. See
Uncle.

Striking Effects Produced by
Lines and Dots for the assis-
tance of young Draftsmen (2
etchings published respec-
tively 4 Aug. 1817 and 23
Sept. 1817 by S. W. Fores.
In the same year G. Black-
man, 362 Oxford St., Lon-
don, published 2 more
etchings by George Cruik-
shank entitled Twelve Sub-
jects formed by Dots and Lines
[pub. 14 June] and Nine Sub-
jects formed by Dots and Lines
[pub. 19 July]. To George
Cruikshank is also attri-
buted an etching entitled A n-
other Series formed of Lines
and Dots], 243.

" Stubb's Calendar ; or, the
Fatal Boots," 196.

" Sunday in London. Illus-
trated in fourteen cuts, by
George Cruikshank, and a few
words by a friend of his ; with
a copy of Sir Andrew Agnew's
Bill " (London : ' Effingham
Wilson, 1833 ; the friend in
the title is John Wight), 51, 99.

Sussex, Duke of. See Augustus,
Illustrations of Popular.

Syntax, Dr, 71. See Life of
Napoleon.

"Table (The) Book." See

Every-Day.

"Tales of Irish Life, illus-
trative of the manners, cus-
toms and conditions of the
people, by I. Whitty " (2 vols.,
London: J. Robins & Co.,
1824), 93.

" Talpa : or the Chronicles of a
Clay Farm. An Agricultural
Fragment. By C. W. H."
(London : Reeve & Co., 1852.
The author is C .W. Hoskyns),
208.

Tarn o' Shunter. See Royal
Academy, 1852.

Temperance, 48, 49, 52 et seq.,
247. GeorgeCruikshankVLast
temperance piece " was The
Last Half Hour in S. C. Hall's
" An Old Story " (1875). See
Bottle, Drunkard, Drunkard's,
Glass, Oil, Worship.

Termiel, Sir John, 176.

Thackeray, William Makepeace
(born 18 July 1811, died 23
or 24 Dec. 1863), T, 25, 69, 78.
196, 231-232. See Stephens,
Frederic G.

Thames, 78.

Thistlewood, Arthur (born 1770,
hanged i May 1820), 3, 35.

Thompson, Alice. See Meynell,
Mrs Alice.

278

BIBLIOGRAPHICAL INDEX

Thompson, John (wood-en-
graver, born 25 May 1785,
died 20 Feb. 1866. At the
Paris Exhibition of 1855, he
was awarded the grand medal
of honour for wood-engraving.
He engraved the cuts for
" Mornings at Bow Street "
and " The Beauties of Wash-
ington Irving," &c.), 126, 129,
162, 239. See True.

Thomson, James, n.

Thornhill, Sir James (Hogarth's
father-in-law), 78.

" Three Courses and a Dessert.
The Decorations by George
Cruikshank " (London : Vize-
telly, Branston & Co., 1830.
The author is W. Clarke), 215.

" Three (The) Cruikshanks.
A Bibliographical Catalogue,
describing more than 500
works . . . illustrated by
Isaac, George, and Robert
Cruikshank, compiled by
Frederick Marchmont . . .
The introduction by Julian
Moore, with illustrations "
(London : W. T. Spencer,
1897. A useful book. Prices
are appended, which should
not in some instances be
paid by the collector who has
time to look about him.
The frontispiece, reproducing
George Cruikshank's oil-
painting A Mother's Love, re-
minds one of William Blake's
drawing in sepia of a mother
discovering her child hi an
eagle's nest).

Time. See Illustrations of Time.

Titian (=Tiziano Vecellio), 2,
69.

Tobacco (The most interesting
anti-tobacco publication as-
sociated with George Cruik-
shank is " What Put My Pipe
Out ; or, Incidents in the Life

of a Clergyman," published
in London by S. W. Partridge,

• 1862), 58, 59-

" Tom Thumb ; a Burletta,
altered from Henry Fielding,
by Kane O'Hara. With
Designs by George Cruik-
shank " (London : Thomas
Rodd, 1830), 156 (where
Ruskin may be supposed by
anyone who thinks, as I do
not, that he was incapable
of a lapsus calami, to refer to
the designs for this volume).

" Topsail-Sheet Blocks ; or,
The Naval Foundling. By
'The Old Sailor'" (3 vols.,
London : Richard Bentley,
1838, the author is M. H.
Barker), 95.

Tothill Fields, 87.

" Tower (The) of London," by
William Harrison Ainsworth
(13 parts, the last 2 form-
ing a double part. London :
Richard Bentley, 1840), 60,
81-82, 83, 85.

" Town Talk, or Living
Manners " (5 vols., London :
J. Johnson, 1811-1814. A
periodical. George Cruik-
shank, contributed to vols. ii.
[1812], iv. [1813], v. [1813]),

" Travels (The) and Surprising
Adventures of Baron Mun-
chausen. Illustrated with
Five woodcuts by G. Cruik-
shank, and Twenty- two full-
page curious engravings."
(London : William Tegg,
1867. The author is R. E.
Raspe. The Cruikshank cuts
were " used before in other
books," says Capt. Douglas.
George Cruikshank also con-
tributed a frontispiece to
" The Surprising Travels and
Adventures of the Renowned

279

GEORGE CRUIKSHANK

Baron Munchausen," printed
and sold by Dean & Munday,
Threadneedle Street, London,
1817), 219.

Triumph (The) of Cupid, etching
in " George Cruikshank's
Table-Book" (1845), 67, 223-4.

"True (The) Legend of St
Dunstan and the Devil, Show
ing how the Horse-Shoe came
to be a Charm against Witch-
craft. By Edward G. Flight.
With illustrations drawn by
George Cruikshank and en-
graved by John Thompson."
(London : D. Bogue, 1848),
119, 122, 123.

Trusler, Rev. Dr, author of
" Hogarth Moralized." (For
an edition of that work
published by John Major in
1831, George Cruikshank en-
graved 4 groups of heads
after Hogarth), 77.

Turpin, Dick, 75, 77.

Twain, Mark, 234.

" Twelve Sketches illustrative
of Sir Walter Scott's Demon-
ology and Witchcraft, by
George Cruikshank " (Lon-
don : J. Robins & Co., 1830),
139, 147-148.

"Uncle Tom's Cabin," by
Harriet Beecher Stowe
(London : John Cassell, 1852),
10, 39-

" Universal (The) Songster ; or
Museum of Mirth : forming
the most complete, extensive,
and valuable collection of
ancient and modern songs in
the English language ..."
(3 vols., London : John
Fairburn, 1825, 1826), 136-
137-

Vaccination. See Cow, Vacci-
nation against.

Vaccination against Small Pox
or Mercenary and Merciless
spreaders of Death and De-
vastation driven out of
Society (caricature signed
Cruikshank del. Published
by S. W. Fores, 20 June 1808),

"Vicar (The) of Wakefield,"
191-192, 193. See Royal
Academy, 1830.

Victoria and Albert Museum.
See South Kensington.

Victoria, Queen, 40, 44, 247.
See Original.

" Voice 1 (The) of Humanity:
for the Communication and
Discussion of all subjects re-
lative to the Conduct of Man
towards the Inferior Animal
Creation" (London: J.
Nisbet 1830 [sic]. The etch-
ing by Geo. Cruikshank en-
titled The Knackers [sic] Yard,
or the Horses [sic] last home !
is here without the notice
" Licensed for Slaughtering
Horses." The Knackers Yard
appeared in the number for
May 1831, and re- appeared
in vol. iii. [the title-page of
which is dateless], with the.
words " Licensed for Slaught-
ering Horses," added to the
design. In the first state of
the plate as published is the
date 1831), 220.

Wardle, Col., Gwyllym Lloyd
(member for Oakhampton,
Devon, who, in the House of
Commons, 27 Jany. 1809,
made the charge against the
Duke of York of implication
in the misuse of money
realised by the sale of com-
missions), 26.

Watts, George Frederick (born
1817, died 1904), 2.

280

BIBLIOGRAPHICAL INDEX

Waverley," by Sir Walter
Scott, 169, i75. *92.

Wedmore, Frederick, 100, 115.

Westminster Abbey, 86, 89.

" What Put My Pipe Out." See
Tobacco.

Whistler, James McNeill (born
circa 1835, died July 1903),
78.

White, engraver. See Life in
Paris. (There was a wood
engraver called Henry White,
a pupil of Bewick who " pro-
duced much good work,
notably the illustrations for
Hone's ' House that Jack
Built,' ' The Matrimonial
Ladder,' [sic], &c." Vide
" Bryan's Dictionary of
Painters and Engravers,"
revised ed. 1905).

White, Rev. James (born 1803,
died 1862). See Adventures
of Sir.

Whittington, See Dick.

Whitty, I., 93. See Tales.

Wight, John. See More, Morn-
ings, Sunday.

Wilberforce, William (born 24
Aug. 1759, died 29 July 1833).
See New Union.

Wild, Jonathan, 79.

Wilde, Oscar, 183-184.

Willesden Churchyard, 79.

" Windsor Castle, an Historical
Romance," by W. Harrison
Ainsworth (new edition,
illustrated by George Cruik-
shank, and Tony Johannot,
with designs on wood by W.
Alfred Delamotte. London :
Henry Colborn, 1843. The
first edition, also 1843, has
only 3 etchings), 89, 90,
i35> 137.

Winsor, Frederick Albert. See
Winzer.

Winzer (born 1763, died n May
1830. One of the pioneers of

28l

gas-lighting and son of
Friedrich Aiorechc Winzer.
Apparently he was named after
his father ; but he anglicised
his name, and biography
knows him as Frederick
Albert Winsor), 31.

"Wits (The) Magazine and
Attic Miscellany" (2 vols.,
London : Thomas Tegg, 1818),
209.

Woman (The) Taken in Adultery,
or Mary Magdalen (caricature
ascribed by G. W. Reid to
George Cruikshank. Pub-
lished by S. W. Fores, 15
March 1809), 27.

Women, 43.

Woodward, H. 12.

Wooler, Thomas Jonathan
(born 1785 or 1786, died 29
Oct. 1853, editor of " The
Black Dwarf " which started
29 Jan. 1817. He was a
tall man), 35.

" Works (The) of George Cruik-
shank Classified and Arranged

with References to Reid's
Catalogue, and their approxi-
mate value1*. By Capt. R. J.
H. Douglas, with a frontis-
piece " (London : printed
by J. Davy & Sons, 1903.
Though not quite exhaustive
and with several errors this
book is indispensable to the
collector. It is the only
bibliography which attempts
to include all the artist's
works to the date of his
death).

World's (The) Show, 1851,
or the Adventures of Mr and
Mrs Sandboys and Family,
who came up to London to
enjoy themselves, and to see
the Great Exhibition, by
Henry Mayhew and George
Cruikshank " (London :

GEORGE CRUIKSHANK

David Bogue, 1851. First
published in 8 parts.
The title-page here quoted is
the one designed by G.
Cruikshank, but above the
first line of text the title is as
quo ted on p. 44).

Worship (The) of Bacchus ;
oil-painting by George Cruik-
shank (1862), 65-70. See
Oil painting.

Worship (The) of Bacchus, or
the Drinking Customs of
Society, showing how uni-
versally the intoxicating
liquors are used upon every
occasion in life from the cradle

to the grave. The figures
outlined on the steel-plate by
George Cruikshank, and the
engraving finished by Charles
Mottram (London : William
Tweedie, 1864), 65.
Wright, Thomas (M.A., F.S.A.),
Author of " Caricature
History of the Georges "
(1867), ii.

Xantippe, 181.

Yarmouth, The Countess of, 4,

24.

Yedis, 28.
York, Duke of. See Frederick.

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