the Bubúкoλo, strikes us as disagreeable and unrefined; that of Winifred is, on the contrary, very pretty and graceful; and Jack's puzzled, slinking look must not be forgotten. All the accessories are good, and the apartment has a snug, cosy air; which is not remarkable, except that it shows how faithfully the designer has performed his work, and how curiously he has entered into all the particulars of the subject. Master Thames Darrell, the handsome young man of the book, is, in Mr. Cruikshank's portraits of him, no favorite of ours. The lad seems to wish to make up for the natural insignificance of his face by frowning on all occasions most portentously. This figure, borrowed from the compositor's desk, will give a notion of what we mean. Wild's face is too violent for the great man of history (if we may call Fielding history), but this is in consonance with the ranting, frowning, braggadocio character that Mr. Ainsworth has given him. The Interior of Willesden Church" is excellent as a composition, and a piece of artistical workmanship; the groups are well arranged; and the figure of Mrs. Sheppard looking round alarmed, as her son is robbing the dandy Kneebone, is charming, simple, and unaffected. Not so Mrs. Sheppard ill in bed," whose face is screwed up to an expression vastly too tragic. The little glimpse of the church seen through the open door of the room is very beautiful and poetical: it is in such small hints that an artist especially excels; they are the morals which he loves to append to his stories, and are always appropriate and welcome. The boozing ken is not to our liking; Mrs. Sheppard is there with her horrified eyebrows again. Why this exaggeration is it necessary for the public? We think not, or if they require such excitement, let our artist, like a true painter as he is, teach them better things. 66 * The Escape from Willesden Cage" is excellent; the "Burglary in Wood's house" has not less merit; "Mrs. Shep A gentleman (whose wit is so celebrated that one should be very cautious in repeating his stories) gave the writer a good illustration of the philosophy of exaggeration. Mr. was once behind the scenes at the Opera when the scene-shifters were preparing for the ballet. Flora was to sleep under a bush, whereon were growing a number of roses, and amidst which was fluttering a gay covey of butterflies. In size the roses exceeded the most expansive sunflowers, and the butterflies were as large as cocked hats; the scene-shifter explained to Mr. ——, who asked the reason why everything was so magnified, that the galleries could never see the objects unless they were enormously exaggerated. How many of our writers and designers work for the galleries? pard in Bedlam," a ghastly picture indeed, is finely conceived, but not, as we fancy, so carefully executed; it would be better for a little more careful drawing in the female figure. Jack sitting for his picture" is a very pleasing group, and savors of the manner of Hogarth, who is introduced in the company. The Murder of Trenchard" must be noticed too as remarkable for the effect and terrible vigor which the artist has given to the scene. The Willesden Churchyard" has great merit too, but the gems of the book are the little vignettes illustrating the escape from Newgate. Here, too, much anatomical care of drawing is not required; the figures are so small that the outline and attitude need only to be indicated, and the designer has produced a series of figures quite remarkable for reality and poetry too. There are no less than ten of Jack's feats so described by Mr. Cruikshank. (Let us say a word here in praise of the excellent manner in which the author has carried us through the adventure.) Here is Jack clattering up the chimney, now peering into the lonely red room, now opening the door between the red room and the chapel." What a wild, fierce, scared look he has, the young ruffian, as cautiously he steps in, holding light his bar of iron. You can see by his face how his heart is beating! If any one were there! but no! And this is a very fine characteristic of the prints, the extreme loneliness of them all. Not a soul is there to disturb him woe to him who should — and Jack drives in the chapel gate, and shatters down the passage door, and there you have him on the leads. Up he goes! it is but a spring of a few feet from the blanket, and he is gone. abiit, evasit, erupit! Mr. Wild must catch him again if he can. - We must not forget to mention "Oliver Twist," and Mr. Cruikshank's famous designs to that work.* The sausage scene at Fagin's, Nancy seizing the boy; that capital piece of humor, Mr. Bumble's courtship, which is even better in Cruikshank's version than in Boz's exquisite account of the interview; Sykes's farewell to the dog; and the Jew, the dreadful Jew - that Cruikshank drew! What a fine touching picture of melancholy desolation is that of Sykes and the dog! The poor cur is not too well drawn, the landscape is stiff and formal; but in this case the faults, if faults they be, of execution rather add to than diminish the effect of the picture: it has a strange, wild, dreary, broken-hearted look; we fancy we see the landscape as it must have appeared to Sykes, when ghastly and with blood * Or his new work, "The Tower of London," which promises even to surpass Mr. Cruikshank's former productions. shot eyes he looked at it. As for the Jew in the dungeon, let us say nothing of it - what can we say to describe it? What a fine homely poet is the man who can produce this little world of mirth or woe for us! Does he elaborate his effects by slow process of thought, or do they come to him by instinct? Does the painter ever arrange in his brain an image so complete, that he afterwards can copy it exactly on the canvas, or does the hand work in spite of him? A great deal of this random work of course every artist has done in his time; many men produce effects of which they never dreamed, and strike off excellences, haphazard, which gain for them reputation; but a fine quality in Mr. Cruikshank, the quality of his success, as we have said before, is the extraordinary earnestness and good faith with which he executes all he attempts the ludicrous, the polite, the low, the terrible. In the second of these he often, in our fancy, fails, his figures lacking elegance and descending to caricature; but there is something fine in this too: it is good that he should fail, that he should have these honest naïve notions regarding the beau monde, the characteristics of which a namby-pamby tea-party painter could hit off far better than he. He is a great deal too downright and manly to appreciate the flimsy delicacies of small society you cannot expect a lion to roar you like any sucking dove, or frisk about a drawing-room like a lady's little spaniel. If then, in the course of his life and business, he has been occasionally obliged to imitate the ways of such small animals, he has done so, let us say it at once, clumsily, and like as a lion should. Many artists, we hear, hold his works rather cheap; they prate about bad drawing, want of scientific knowledge: they would have something vastly more neat, regular, anatomical. Not one of the whole band most likely but can paint an Academy figure better than himself; nay, or a portrait of an alderman's lady and family of children. But look down the list of the painters and tell us who are they? How many among these men are poets (makers), possessing the faculty to create, the greatest among the gifts with which Providence has endowed the mind of man? Say how many there are, count up what they have done, and see what in the course of some nine-and-twenty years has been done by this indefatigable man. What amazing energetic fecundity do we find in him! As a boy he began to fight for bread, has been hungry (twice a day we trust) ever since, and has been obliged to sell his wit for his bread week by week. And his wit. sterling gold as it is, will find no such purchasers as the fashionable painter's thin pinchbeck, who can live comfortably for six weeks, when paid for and painting a portrait, and fancies his mind prodigiously occupied all the while. There was an artist in Paris, an artist hairdresser, who used to be fatigued and take restoratives after inventing a new coiffure. By no such gentle operation of headdressing has Cruikshank lived: time was (we are told so in print) when for a picture with thirty heads in it he was paid three guineas a poor week's pittance truly, and a dire week's labor. We make no doubt that the same labor would at present bring him twenty times the sum; but whether it be ill paid or well, what labor has Mr. Cruikshank's been! Week by week, for thirty years, to produce something new; some smiling offspring of painful labor, quite independent and distinct from its ten thousand jovial brethren; in what hours of sorrow and illhealth to be told by the world, Make us laugh or you starve Give us fresh fun; we have eaten up the old and are hungry." And all this has he been obliged to do to wring laughter day by day, sometimes, perhaps, out of want, often certainly from ill-health or depression to keep the fire of his brain perpetually alight for the greedy public will give it no leisure to cool. This he has done and done well. He has told a thousand truths in as many strange and fascinating ways; he has given a thousand new and pleasant thoughts to millions of people; he has never used his wit dishonestly; he has never, in all the exuberance of his frolicsome humor, caused a single painful or guilty blush: how little do we think of the extraordinary power of this man, and how ungrateful we are to him! Here, as we are come round to the charge of ingratitude, the starting-post from which we set out, perhaps we had better conclude. The reader will perhaps wonder at the high-flown tone in which we speak of the services and merits of an individual, whom he considers a humble scraper on steel, that is wonderfully popular already. But none of us remember all the benefits we owe him; they have come one by one, one driving out the memory of the other: it is only when we come to examine them all together, as the writer has done, who has a pile of books on the table before him a heap of personal kindnesses from George Cruikshank (not presents, if you please, for we bought, borrowed, or stole every one of them) - that we feel what we owe him. Look at one of Mr. Cruikshank's works, and we pronounce him an excellent humorist. Look at all: his reputation is increased by a kind of geometrical progression; as a whole diamond is a hundred times more valuable than the hundred splinters into which it might be broken would be. A fine rough English diamond is this about which we have been writing. JOHN LEECH'S PICTURES OF LIFE AND CHARACTER.* WE, who can recall the consulship of Plancus, and quite respectable, old-fogytied times, remember amongst other amusements which we had as children the pictures at which we were permitted to look. There was Boydell's Shakspeare, black and ghastly gallery of murky Opies, glum Northcotes, straddling Fuselis! there were Lear, Oberon, Hamlet, with starting muscles, rolling eyeballs, and long pointing quivering fingers; there was little Prince Arthur (Northcote) crying, in white satin, and bidding good Hubert not put out his eyes; there was Hubert crying; there was little Rutland being run through the poor little body by bloody Clifford; there was Cardinal Beaufort (Reynolds) gnashing his teeth, and grinning and howling demoniacally on his death-bed (a picture frightful to the present day); there was Lady Hamilton (Romney) waving a torch, and dancing before a black background, — a melancholy museum indeed. Smirke's delightful Seven Ages" only fitfully relieved its general gloom. We did not like to inspect it unless the elders were present, and plenty of lights and company were in the room. Let Cheerful relatives used to treat us to Miss Linwood's. the children of the present generation thank their stars that tragedy is put out of their way. Miss Linwood's was worstedwork. Your grandmother or grandaunts took you there, and said the pictures were admirable. You saw "the Woodman" in worsted, with his axe and dog, trampling through the snow; the snow bitter cold to look at, the woodman's pipe wonderful : a gloomy piece, that made you shudder. There were large dingy pictures of woollen martyrs, and scowling warriors with limbs strongly knitted; there was especially, at the end of a black passage, a den of lions, that would frighten any boy not born in Africa, or Exeter 'Change, and accustomed to them. * Reprinted from the Quarterly Review, No. 191, Dec. 1854, by permission of Mr. John Murray. |