Charterhouse about him in the shape of a broken nose, a mark of distinction which was earned in a pugilistic encounter with another schoolfellow.

A reminiscence of John Leech's schoolboy days will be found in one of his illustrations to "Once a Week,"* which represents a schoolboy perched in the topmost branches of a tree overlooking the walls of the Carthusian playground. As the mail coaches bound to the north passed the Charterhouse walls in the old coaching days, the boys not seeing any just reason why they should be debarred from the exhilarating spectacle, notched the trees and drove in spikes at ticklish points, which enabled them to mount to the upper branches, whence they could watch the coaches at their leisure. The illustration referred to is labelled, A Coach Tree, but without this explanation the reader would scarcely suspect (the letterpress being of course silent on the subject) that the schoolboy represented in the illustration is the artist himself. Leech always retained a pleasant recollection of his old Carthusian school-days, and frequently attended the festivities of the Charterhouse.

His early aptitude for the pencil was developed when he was only three years of age. One of his early efforts attracted the attention of Flaxman the sculptor, who advised that he should "not be cramped with lessons in drawing; let his genius," he said, “follow its own bent, and he will astonish the world." This advice was so far followed, that we believe we are justified in saying that beyond the ordinary perfunctory drawing lessons obtained at school, he received no other artistic education during the rest of his life. His father, the "profound Shakesperian scholar" and "perfect gentleman," so little encouraged the bent of the boy's genius, that if he had had his way he would have driven this square peg into a very round hole. At sixteen years of age he took his son from the Charterhouse, and shortly afterwards apprenticed him to an eccentric person at Hoxton, nominally carrying on the profession of a surgeon, and rejoicing in the name of Whittle.

Vol. iii., 1865.

[Face p. 278.

This Whittle proved a perfect study to the young artist, and it is possible that his connection with this eccentric personage had some influence in deciding him not to follow a profession for which he had but little sympathy. Whittle was a man of large frame and muscular development, so far at least as the upper part of his body was concerned, but the development extended no farther, his legs being formed on much more slender proportions. His tastes were decidedly athletic; he had rings let into the wall for the purpose of practising gymnastics, and delighted in posing before his amused pupils in the character of "The Dying Gladiator," "Hercules," and other antique statues. The few patients he possessed had small chance of professional attendance when Mr. Whittle was in training for a walking or running match, or any other amateur athletic engagement. "When," says Shirley Brooks, "lady patients, taking a walk, are suddenly surrounded by a hurrying and shouting crowd, in the middle of which, as they escape, they behold their medical adviser, in quaint attire, rushing to pick up stones with his mouth, an early termination of the relations between the healer and his patients is not impossible.” * Α person of this kind was obviously out of his element in a learned profession, and this Whittle eventually recog nised, and descended to his level by marrying one of his patients, a widow who kept a neighbouring public. He found himself more "at home" behind the bar in his shirt sleeves, and with ready facility adapted himself to circumstances by drawing beer for his former pupils and patients. Various stories have been told of this eccentric personage, who is said (with what truth we know not) to have commenced life as a Quaker, and ended it eventually as a missionary.

Whittle the eccentric was afterwards immortalized by Leech as "Rawkins" in Albert Smith's "Adventures of Mr. Ledbury," which made their appearance in "Bentley's Miscellany." We cannot advise those who would enjoy a hearty laugh to do better than refer to Leech's comical etchings of The Return of Hercules from a Fancy

Shirley Brooks in the Illustrated London News, 19th Nov., 1864.

"RAWKINS."

Ball (on a wet night, without his latchkey), and the Last Appearance of Mr. Rawkins in Public, in which the rencontre of Mr. Whittle and some of his female patients already referred to is superbly realized.

When Mr. Whittle and his practice had finally parted company in the manner we have described, John Leech's indentures were transferred to Dr. John Cockle, afterwards physician to the Royal Free hospital. During part of his spasmodic medical course, he went through the mystic performance at one time known as "walking the hospitals," and at St. Bartholomew's varied his attendance at the anatomical lectures of Mr. Stanley-where he met other square pegs intended for round holes, Albert Smith and Percival Leigh-with sketches of his fellow-pupils and their medical lecturers. Many of these, the earliest of his sketches, were in the possession of his friend, the late Mark Lemon. Before his time was out, Leech luckily resolved to throw his medical studies to the winds, and to live wholly by the practice of his art.

His first work, published when he was eighteen years of age, was entitled "Etchings and Sketchings by A. Pen, Esq.," and consisted of four quarto sheets, containing slightly caricature sketches of oddities of London life, such as cabmen, policemen, street musicians, and the like. He next tried his hand at lithography, and produced some political satires not without ability; but these at best were merely the tentative efforts of an artist who had not yet discovered the bent of his genius, in consequence of being compelled to accommodate himself to the standard of his early patrons -the printsellers. Having drawn his design, Leech has been known in those early times to spend a weary day in search of a buyer, by carrying the heavy stone about with him from publisher to publisher. The style of these tentative efforts may be judged by the work which first brought him into notice, a poor caricature of Mulready's envelope in commemoration of the establishment of Sir Rowland Hill's cheap postage system, a reproduction of which will be found in a late "Biographical Sketch" by Mr. Kitton.