undoubtedly is that he possesses genius- genius in its truest sense -strong, original, English genius. Look round the world of art, and ask, How many are there of whom anything like this can be said? Why, there are not half a dozen names that could bear being mentioned at all; and certainly there is not one, the pretensions of which will endure sifting, more securely and more triumphantly than that of George Cruikshank. In the first place, he is-what no living caricaturist but himself has the least pretensions to be, and what, indeed, scarcely one of their predecessors was-he is a thoroughbred artist.* He draws with the ease and freedom and fearlessness of a master; he understands, the figure completely; and appears, so far as one can guess from the trifling sort of things he has done, to have a capital notion of the principles of grouping. Now these things are valuable in themselves, but they are doubly, trebly valuable as possessed by a person of real comic humour; and a total despiser of that Venerable Humbug which almost all the artists of our day seem, in one shape or other, to revere as the prime god of their idolatry. Nobody, that has the least of an eye for art, can doubt that Cruikshank, if he chose, might design as many annunciations, beatifications, apotheoses, metamorphoses, and so forth, as would cover York cathedral from end to end. It is still more impossible to doubt that he might be a famous portrait painter. Now, these are fine lines both of them, and yet it is precisely the chief merit of Cruikshank that he cuts them both; that he will have nothing to do with them; that he has chosen a walk of his own, and that he has made his own walk popular. Here lies genius; but let him do himself justice; let him persevere and rise in his own path, and then, ladies and gentlemen, then the day will come when his name will be a name indeed, not a name puffed and paraded in the newspapers, but a living, a substantial, perhaps even an illustrious, English name. Let him, in one word, proceed, and, as he proceeds, let him think of Hogarth." + * This certainly was not true; both Gillray and Rowlandson were draughtsmen and artists of exceptionable ability. + The article from which this is quoted is variously assigned to Professor Wilsor Now, although amused (and surely he cannot fail to be amused) at the curious incapacity of an art critic so strangely ignorant of his subject as to conceive George Cruikshank an artist capable of designing annunciations, beatifications, apotheoses, and subjects so completely out of the range of his sympathies and abilities, the reader will, at the same time, be struck with the prescience of the intelligent writer who discerned in him the possession of true genius, and predicted for him, even at this early period of his career, the reputation "living, substantial," and "illustrious "-which he afterwards so justly achieved for himself. In everything save the power to realize an annunciation, a beatification, or an apotheosis, George Cruikshank was, at the time this article was penned, exactly what Mr. Lockhart describes him. The most able and accomplished of the caricaturists of his time, he was nevertheless willing to etch the works of an amateur or of an artist inferior to himself, to whose work he has frequently imparted a vitality of which it would have been destitute but for the interposition of his hand. He was ready, moreover, to execute woodcuts for a song-book or the political skits of any scribbler of his time, whether on the ministerial or the popular side mattered little to him. It was therefore not unnatural that doing "just what was suggested or thrown in his way," Lockhart should come to the erroneous conclusion that the artist had "no plan," "no ambition," and "not much industry." The assertion that he had "no ambition" has been amply disproved by his subsequent life, whilst so far from having "no plan," the sequel shows that all this time, unsuspected by the critic, he had been gradually developing the style of illustration by which he made his mark and reputation,-a style first displayed in the celebrated "Points of Humour," the publication of which served as the occasion for Lockhart's criticism. On this account, if for no other reason, the caricatures of George Cruikshank possess so remarkable an interest, that it is singular that this field of artistic labour has been left almost unexplored and Lockhart; it matters little which. Meanwhile, we must have a name, let it be Lockhart's. N by the essayists, many of whom, with a somewhat imperfect knowledge of their subject, have essayed to give us information on the subject of this artist and his works. It is just this early period of his life, in which he first followed and then gradually emancipated himself from the artistic control and influence of Gillray, which seems to us to afford the most interesting study of the man's career. Nevertheless, nearly all the articles we have read. on George Cruikshank would give us the idea that, with the exception of certain designs for woodcuts for Hone-such as the celebrated Non Mi Ricordo and others-certain rough coloured engravings for "The Meteor," "The Scourge," and other periodicals of a kindred stamp, the artist executed but few caricatures properly so called. This at least is the impression which these articles have left on our own minds; and we can only account for the little notice taken of him as a caricaturist by the fact that, unlike the etchings which he produced when in the prime of his career, his caricatures are not only exceedingly scarce, but being in many cases unsigned, are capable only of being recognised by those intimately acquainted with his early handiwork. The caricatures of George Cruikshank may be divided into three classes: first, those which are wholly designed and etched by himself; secondly, those which he designed after the sketches or suggestions of his friends; and thirdly, those merely etched from the designs of other artists. We find the first, although frequently unsigned, more usually signed (on the left hand), "Geo. Cruik. fect." or "invt. & fect."; the second-"invt. G. Cruik. fect. ;" while the third are indicated as merely etched by him. Of the second class it may be remarked that with the exception of the mere sketch or suggestion, the drawing and the workmanship are oftentimes unmistakably George's own. In the description of his caricatures which follow, we shall indicate the designs which belong to this class with an asterisk. Publications such as "The Scourge," although containing many caricature designs by George Cruikshank, are scarcely among those to which the present chapter was intended to be devoted. There are, however, two satirical compositions of his in this scurrilous publication, which appear to us so exceptionally good, that we feel justified in drawing special attention to them. As the publication itself affords little or no clue to the subject of the illustrations, it seems necessary in order that the first may be understood, to explain the circumstances which appear to us to have led up to it. For several years prior to 1811, the established clergy had manifested considerable uneasiness on account of the rapid spread of Methodism. The readiness with which licenses for preaching could be obtained according to the usual interpretation of the Toleration Act, had tended to the multiplication of a class of preachers whose manners and language peculiarly fitted them for acquiring influence over the inferior ranks of the people; and by this means a great diminution had taken place in the congregations of parish churches. It is affirmed-with what truth we know not -that Lord Sidmouth in the measure (presently to be noticed) was encouraged to proceed in his design by letters from persons of high position in the Church. On the 9th of May, 1811, Lord Sidmouth moved in the House of Lords for leave to bring in a bill for amending and explaining the Acts of William and Mary and 17th George III., so far as applied to dissenting ministers. According to the statement of his lordship, at most of the quarter sessions, when the oaths were taken and the declarations made requisite for enabling a person to officiate in a chapel or meeting-house, any person, however ignorant or profligate, was able to obtain a certificate which 1 The editor of "The Scourge" was one Jack Mitford. He received a classical education, was originally in the navy, and fought under Hood and Nelson. Besides "The Scourge," he edited "The Bon Ton” magazine, and “Quizzical Gazette," and was author of a sea song once popular, "The King is a true British Sailor." He was an irreclaimable drunkard, thought only of the necessities of the hour, and slept in the fields when his finances would not admit of payment of a twopenny lodging in St. Giles's. His largest work was "Johnny Newcome in the Navy," for which the publisher gave him the generous remuneration of a shilling a day till he finished it. He died in St. Giles's workhouse in 1831. 1811. LORD SIDMOUTH'S authorized him to preach. His lordship proposed that, in order to entitle any person to a qualification as a preacher, he should have the recommendation of at least six respectable householders of the congregation to which he belonged. Lord Holland, in opposing the bill, observed that he held it to be the inalienable right of every man who thought himself able to instruct others to do so, provided his doctrines were not incompatible with the peace of society. When the nature and provisions of the proposed measure were made known to the public, an alarm was excited among all those whom it was likely to affect. The Nonconformists generally regarded it as intended, not so much to add to the respectability of the dissenting ministers, as to contract the limits of toleration,. and subject the licensing of preachers to the control of the magistracy. When therefore, on the 21st of May, the bill was to be read a second time, such a deluge of petitions was poured in against it, that the mover was left totally unsupported. The Archbishop of Canterbury said with truth, that the Dissenters. were the best judges of their own concerns; and as it appeared from the great number of petitions against it, that they were hostileto the bill, he thought it unwise to press the measure against their manifest wishes. Under these circumstances the bill was, we need. not say, thrown out. This would appear to be the subject which produced George Cruikshank's graphic satire of the Interior View of the House of God, in the first volume of "The Scourge." The pulpit is occupied by two fanatics, one of whom rants, while the other snuffs the candles; the devil, in the gallery above, ridicules the proceedings by rasping, à la fiddle, the bars of a gridiron with a poker; among the numerous congregation present we notice some attentive and interested listeners, whilst others evidently attend from mere motives of curiosity. Above the composition appears the quotation, "Believe not every spirit, but try the spirits whether they are of God: because many false prophets are gone out into the world." The satire, The Examination of a Young Surgeon, which |