way by his plates to Combe's "Three Tours of Dr. Syntax." Gillray,
his contemporary, whose bias was political rather than social, is
said to have illustrated "The Deserted Village" in his youth; but he
is not famous as a book-illustrator. Another of the early men was
Bunbury, whom "quality"-loving Mr. Walpole calls "the second
Hogarth, and first imitator who ever fully equalled his original
(!);" but whose prints to "Tristram Shandy," are nevertheless
completely forgotten, while, if he be remembered at all, it is by
the plate of "The Long Minuet," and the vulgar "Directions to Bad
Horsemen." With the first years of the century, however, appears
the great master of modern humorists, whose long life ended only a
few years since, "the veteran George Cruikshank"--as his admirers
were wont to style him. He indeed may justly be compared to
Hogarth, since, in tragic power and intensity he occasionally comes
nearer to him than any artist of our time. It is manifestly
impossible to mention here all the more important efforts of this
indefatigable worker, from those far-away days when he caricatured
"Boney" and championed Queen Caroline, to that final frontispiece
for "The Rose and the Lily"--"designed and etched (according to the
inscription) by George Cruikshank, age 83;" but the plates to the
"Points of Humour," to Grimm's "Goblins," to "Oliver Twist," "Jack
Sheppard," Maxwell's "Irish Rebellion," and the "Table Book," are
sufficiently favourable and varied specimens of his skill with the
needle, while the woodcuts to "Three Courses and a Dessert," one of
which is here given, are equally good examples of his work on the
block. The "Triumph of Cupid," which begins the "Table Book," is an
excellent instance of his lavish wealth of fancy, and it contains
beside, one--nay more than one--of the many portraits of the artist.
He is shown en robe de chambre, smoking (this was before his
regenerate days!) in front of a blazing fire, with a pet spaniel on