,,suppressed ,,plates ,,agents ,,america ,,the ,,macmillan ,,company #fd #ff ,,fifth ,,avenue1 ,,new ,,york ,,canada ,,the ,,macmillan ,,company ,,of ,,canada1 ,,ltd4 #bg ,,richmond ,,street ,,west1 ,,toronto ,,india ,,macmillan ,,company1 ,,ltd4 ,,macmillan ,,building1 ,,bombay #cji ,,bow ,,bazaar ,,street1 ,,calcutta ,illustration3 ,the title-page of the unwritten 8,death in ,london0 ,,suppressed ,,plates ,,wood ,,engravings1 c4 ,,together ,,with ,,other ,,curiosities ,,germane ,,thereto ,,being ,,an ,,account ,,of ,,certain ,,matters ,,peculiarly ,,alluring ,,to ,,the ,,collector ,,by ,,george ,,somes ,,layard ,illustration3 7colophon7 ,,london ,,adam ,,and ,,charles ,,black #aijg ,published ,november #aijg ,i ,,dedicate ,,this ,,book ,,to ,,my ,,two ,,boys ,,john ,,and ,,peter ,,who ,i ,,sincerely ,,hope1 ,,will ,,not ,,have ,,so ,,many ,,useless ,,hobbies ,,as ,,their ,,affectionate ,,father ,,contents #a4 ,,introductory 4 4 4 #a #b4 8,,the ,,marquis ,,of ,,steyne0 4 4 4 #g #c4 ,,the ,,suppressed ,,portrait ,,of ,,dickens1 8,,pickwick10 8,,the ,,battle ,,of ,,life10 ,,and 8,,grimaldi0 4 4 4 #bf #d4 ,,dickens ,,cancelled ,,plates3 8,,oliver ,,twist10 8,,martin ,,chuzzlewit10 8,,the ,,strange ,,gentleman10 8,,pictures ,,from ,,italy10 ,,and 8,,sketches ,,by ,,boz0 4 4 4 #dc #e4 ,,on ,,some ,,further ,,suppressed ,,plates1 ,,etchings1 ,,and ,,wood ,,engravings ,,by ,,george ,,cruikshank 4 4 4 #ei #f4 ,,hogarth',s 8,,enthusiasm ,,delineated10 8,,the ,,man ,,of ,,taste10 ,,and 8,,don ,,quixote0 4 4 4 #hb #g4 ,,cancelled ,,designs ,,for 8,,punch0 ,,and 8,,once ,a ,,week0 ,,by ,,charles ,,keene ,,and ,,frederick ,,sandys 4 4 4 #abg #h4 ,,miscellaneous 4 4 4 #adi #i4 ,,the ,,suppressed ,,omar ,,khayyam ,,etching 4 4 4 #agi #aj4 ,,adapted ,,or ,,palimpsest ,,plates 4 4 4 #aib #aa4 ,,adapted ,,or ,,palimpsest ,,plates 7continued7 4 4 4 #bbf ,,list ,,of ,,illustrations ,printed ,separately ,the ,title-page of the unwritten 8,death in ,london0 4 4 4 ,frontispiece ,the ,third ,marquis of ,hertford4 7,from the engraving by ,w4 ,holl1 of the painting by ,sir ,thomas ,lawrence7 4 4 4 ,between pages #bj and #ba ,the ,fourth ,marquis of ,hertford4 7,from a photograph7 4 4 4 ,between pages #bj and #ba ,the ,third ,marquis of ,hertford when ,lord ,yarmouth4 7,from the coloured caricature by ,richard ,dighton7 4 4 4 ,facing page #bd ,the suppressed portrait of ,charles ,dickens 4 4 4 ,facing page #bh ,the 8,pickwick0 suppressed plate3 8,the ,cricket ,match40 7,by ,r4 ,w4 ,buss7 4 4 4 ,facing page #cj ,the 8,pickwick0 suppressed plate3 8,tupman and ,rachel40 7,by ,r4 ,w4 ,buss7 4 4 4 ,between pages #cb and #cc 8,tupman and ,rachel40 7,by ,h4 ,k4 ,browne7 4 4 4 ,between pages #cb and #cc 8,the ,last ,song10 with the suppressed border 7,by ,george ,cruikshank7 4 4 4 ,facing page #dj ,the suppressed plate from 8,oliver ,twist0 4 4 4 ,facing page #dh #a4 8,the ,fireside ,scene0 #b4 8,the ,fireside ,scene10 as worked upon by ,cruikshank ,the suppressed plate from 8,sketches by ,boz0 4 4 4 ,facing page #ef 8,a ,financial ,survey of ,cumberland or the ,beggar's ,petition40 7,from the only known uncoloured impression of the plate7 4 4 4 ,between pages #fd and #fe 8,a ,financial ,survey of ,cumberland or the ,beggar's ,petition40 7,from a coloured impression of the plate1 with the figure of the valet obliterated with lamp-black7 4 4 4 ,between pages #fd and #fe 8,enthusiasm ,delineated4 7,humbly dedicated to his ,grace the ,arch ,bishop of ,canterbury by his ,graces most obedient humble ,servant ,wm4 ,hogarth07 4 4 4 ,between pages #hh and #hi 8,credulity1 ,superstition1 and ,fanaticism4 ,a ,medley0 4 4 4 ,between pages #hh and #hi ,portrait of ,hogarth with his ,dog ,trump 4 4 4 ,facing page #aab ,the plate reversed and in its last state1 now entitled 8,the ,bruiser0 4 4 4 ,facing page #aab ,the ,cancelled ,cartoon4 7,by ,charles ,keene7 4 4 4 ,facing page #abh ,the ,cancelled 8,social40 7,by ,charles ,keene7 4 4 4 ,facing page #acf ,suggestion by ,joseph ,crawhall for the ,cancelled 8,social0 4 4 4 ,facing page #acf 8,the ,painted ,chamber40 7,from ,antiquities of ,westminster1 #ahjg7 4 4 4 ,facing page #aej ,the suppressed portrait of 8,john ,jorrocks1 ,esq41 ,m4,f4,h41 etc40 7,by ,henry ,alken1 the younger7 4 4 4 ,facing page #afj ,the suppressed frontispiece for 8,omar ,khayyam40 7,by ,edwin ,edwards7 4 4 4 ,facing page #ahh 8,l',europe alarme pour le ,fils d'un ,meunier40 7,the plate in its first state7 4 4 4 ,between pages #bjd and #bje ,the plate in its second state1 now entitled 8,la ,cour de ,paix solitaire1 entre les ,roses piquantes et les ,lis0 4 4 4 ,between pages #bjd and #bje ,queen ,anne presiding over the ,house of ,lords4 7,the plate in its first state7 4 4 4 ,between pages #bcf and #bcg ,the plate in its second state1 now representing ,george ,i4 presiding over the ,house of ,lords 4 4 4 ,between pages #bcf and #bcg 8,the ,races of the ,europeans1 with their ,keys40 7,the plate in its first state7 4 4 4 ,between pages #bch and #bci 8,a ,skit on ,britain40 7,the plate in its second state7 4 4 4 ,between pages #bch and #bci ,the ,headless ,horseman4 7,the plate with the head burnished out7 4 4 4 ,facing page #bdj ,the plate with ,cromwell's head 4 4 4 ,between pages #bdb and #bdc ,the plate with ,charles ,i4's head 4 4 4 ,between pages #bdb and #bdc ,undescribed palimpsest plate4 7,first state and second state7 4 4 4 ,facing page #bdd ,undescribed palimpsest plate4 7,first state and second state7 4 4 4 ,facing page #bdf ,printed in the ,text #a4 ,the ,suppressed ,portrait of the ,marquis of ,steyne 4 4 4 #ae #b4 ,the ,battle of ,life4 8,leech's ,grave ,mistake0 4 4 4 #ce #c4 ,rose ,maylie and ,oliver at ,agnes's ,tomb4 7,the substituted plate in two states7 4 4 4 #ea #d4 ,the ,strange ,gentleman 4 4 4 #ee #e4 8,a ,trifling ,mistake0--,corrected-- 4 4 4 #ga #f4 ,philoprogenitiveness 4 4 4 #gg #g4 8,drop it60 4 4 4 #gi #h4 ,enlarged detail of ,hogarth's 8,enthusiasm ,delineated0 4 4 4 #he #i4 ,the ,chandelier in 8,enthusiasm0 4 4 4 #ie ,the ,chandelier in 8,credulity0 4 4 4 #ie #aj4 ,the ,man of ,taste 4 4 4 #aje #aa4 ,burlington ,gate as it appeared prior to #ahfh 4 4 4 #aji #ab4 ,don ,quixote1 ,no4 #a4--,the ,innkeeper 4 4 4 #aae #ac4 ,don ,quixote1 ,no4 #b4--,the ,funeral of ,chrysostom 4 4 4 #aag #ad4 ,don ,quixote1 ,no4 #c4--,the ,innkeeper's ,wife and ,daughter 4 4 4 #aai #ae4 ,don ,quixote1 ,no4 #d4--;,don ,quixote seizes the ,barber's ,basin 4 4 4 #abj #af4 ,don ,quixote1 ,no4 #e4--;,don ,quixote releases the ,galley ,slaves 4 4 4 #abb #ag4 ,don ,quixote1 ,no4 #f4--,the ,first ,interview 4 4 4 #abc #ah4 ,don ,quixote1 ,no4 #g4--,the ,curate and the ,barber 4 4 4 #abe #ai4 ,dana in the ,brazen ,chamber 4 4 4 #adc #bj4 ,suppressed ,illustration from ,the ,vicar of ,wakefield 4 4 4 #agb #ba4 ,het beest van ,babel1 etc4 7,the plate in its first state7 4 4 4 #bah #bb4 ,het beest van ,babel1 etc4 7,the plate in its second state7 4 4 4 #bai #bc4 ,aan der ,meester ,tonge-,slyper4 7,the plate in its first state7 4 4 4 #bbi ,aan der ,meester ,tonge-,slyper4 7,as adapted by the ,anti-,jesuits7 4 4 4 #bbi #bd4 ,the ,stature of a ,great ,man1 or the ,english ,colossus 4 4 4 #bcd #be4 ,the ,stature of a ,great ,man1 or the ,scotch ,colossus 4 4 4 #bce #bf4 ,aan den ,experten ,hollandschen ,hoofd-,smith4 7,the plate in its first state7 4 4 4 #bde #bg4 ,aan den ,experten ,hollandschen ,hoofd-,smith4 7,as adapted by the ,anti-,jesuits7 4 4 4 #bde #bh4 ,an adapted ,copperplate4 7,first state7 4 4 4 #bdg #bi4 ,an adapted ,copperplate4 7,second state7 4 4 4 #bdg #cj4 ,a ,history of the ,new ,plot4 7,first state7 4 4 4 #bdi #ca4 ,a ,history of the ,new ,plot4 7,second state7 4 4 4 #bdi ,,suppressed ,,plates1 ,,etc4 ,,chapter ,i ,,introductory ,no one who has the itch for book-collecting will deny that suppressed book illustrations are1 what the forbidden fruit was to our mother ,eve1 irresistible4 ,whether such appetite represents the very proper ambition to have at his elbow the earliest states of beautiful or interesting books1 of which the subsequently suppressed plate or wood engraving is in general a sort of guarantee1 or the less defensible desire to possess what our neighbour does not1 must be settled by the conscience of each4 ,the fact remains that such rarities are peculiarly alluring to those whom ,wotton calls 8the lickerish chapmen of all such ware40 #b ,there are1 of course1 ridiculous#a people who value such books as the first issue of the first edition of ,dickens's ,american ,notes just because there is a mistake in the pagination2 or a first edition of ,disraeli's ,lothair because the prototype of 8,monsignor ,catesby0 is divulged by misprinting the name 8,capel02 or ,poems by ,robert ,burns1 first ,edinburgh ,edition1 because in the list of subscribers 8,the ,duke of ,roxborough0 appears as 8,the ,duke of ,boxborough02 or ,barker's 8,breeches0 ,bible of #aeid1 because on the title-page of the ,new ,testament the figures are transposed to #adie2 or the first edition in ,french of ,washington ,irving's ,sketch ,book1 because the translator1 maltreating the author's name1 has declared the book to be 8traduit de l',anglais de ,m4 ,irwin ,washington10 and in the dedication has labelled ,sir ,walter ,scott1 ,barronnet2 or indeed a book of my own1 in which ,i described as 8since dead0 a gifted and genial gentleman who ,i am glad to think still gives the lie to my inexcusable carelessness4 #c #a ,i am quite aware that 8ridiculous0 is a dangerous stone to throw1 when one lives in a glass house oneself4 ,but it is not because of such errors that a true book-lover desires to own editiones principes of famous works4 ,that ambition is legitimate enough1 but its legitimate reason is otherwhere to seek4 ,in the case of such a book as ,rogers's ,italy1 with the ,turner engravings1 the matter is very different4 ,here the fact that the plates on pp4 #hh and #ia are transposed is a guarantee that the impressions of the extraordinarily delicate engravings are of the utmost brilliancy1 for the error was discovered before many impressions had been taken4 ,the same applies1 though in lesser degree1 to such a book as ,mr4 ,austin ,dobson's ,ballad of ,beau ,brocade1 illustrated by ,mr4 ,hugh ,thomson1 in the earliest edition of which certain of the illustrations are also misplaced4#b ,there is reason in wishing to possess these4 ,see what ,ruskin himself has said of the omission of the two engravings which had appeared in the first edition of ,the ,two ,paths4 ,he writes in the preface to the #ahgh reissue3 #d #b ,compare also the early issues of the first edition of ,ainsworth's ,tower of ,london1 in which the plates at pp4 #bh and #de vary from those in the later issues4 8,i own to a very enjoyable pride in making the first editions of my books valuable to their possessors1 who found out1 before other people1 that these writings and drawings were good for something 4 4 4 and the two lovely engravings by ,messrs4 ,cuff and ,armytage will1 ,i hope1 render the old volume more or less classical among collectors40 ,from this we gather that 8the ,professor0 was of the right kidney4 ,it is hardly necessary to say that it is not my intention to make this book a devil's directory to illustrations which have been suppressed because of indecency1 and are referred to in the catalogues of second-hand booksellers1 whose cupidity is stronger than their self-respect1 as 8faceti0 or 8very curious40 ,indeed1 this book would itself in that case also very properly be put on the index expurgatorius of every decent person4 ,my purpose is to gather together1 correct and amplify the floating details concerning a legitimate class of rarities1 and to put the collector on his guard1 where necessary1 against imposition4 ,by its very nature this treatise cannot be complete1 but ,i have included most of the #e examples of any importance which1 during many years of bibliomania1 have come under my observation4 ,to these ,i have added certain re-engraved or palimpsest plates1 which are germane to the subject4 ,as to these last ,i find amongst my papers a curious note from the pen of ,r4 ,h4 ,cromek1 the engraver1 who flourished at the end of the eighteenth century4 8,one of these vendors10 he writes 7publishers of ,family ,bibles71 8lately called to consult me professionally about an engraving he brought with him4 ,it represented ,mons4 ,buffon seated1 contemplating various groups of animals surrounding him4 ,he merely wished1 he said1 to be informed whether1 by engaging my services to unclothe the naturalist1 and giving him a rather more resolute look1 the plate could not1 at a trifling expense1 be made to do duty for #8,daniel in the lions' den'06 ,that would be a palimpsest well worth possessing1 if ever it were carried into effect4 ,it would be as fascinating an object of contemplation as the ,stothard designs for ,clarissa ,harlowe1 #f which the same authority informs us were later used to illustrate the ,scriptures6 ,but the history of the clich1 pure and simple1 has yet to be written4 ,our concern is with higher game than that4 #g ,,chapter ,,ii 8,,the ,,marquis ,,of ,,steyne0 ,perhaps the most celebrated of suppressed book illustrations is the wood-engraved portrait of the 8,marquis of ,steyne10 drawn by ,thackeray as an illustration to ,vanity ,fair1 for which1 if we are to believe the statement of a well-known bookseller's catalogue1 8libellous proceedings 7sic7 were threatened on account of its striking likeness to a member of the aristocracy40 ,with the accuracy of this statement ,i shall deal in due course4 ,before1 however1 proceeding to the consideration of the suppressed illustration itself1 it will be as well to pause for a moment to consider what antecedent probability there was that ,thackeray would pillory a well-known rou of the period in terms that would make the likeness undoubted and undeniable4 ,and in pointing out what the great #h novelist's practice was in this respect ,i would guard myself against the charge of presuming to censure one who is not here to answer for himself1 and whose nobility of character was sufficient guarantee of good faith and honourable intention4 ,let it always be remembered that1 if ,thackeray flagellated others1 he never hesitated to taste the quality of his own whip first4 ,even in his book illustrations1 as ,i have pointed out elsewhere1 he was as unsparing of his own feelings as he was in his writings4 ,and1 in using himself as a whipping-boy for our sins1 he probably believed that he was making himself as despicable as a ,rousseau4 ,hence he came to the like treatment of other real personages not with unclean hands4 ,some of us may have seen1 though very few of us can possess1 a very rare pamphlet1 which was sold for as much as #ci on one of its infrequent appearances in the auction-rooms1 entitled ,mr4 ,thackeray1 ,mr4 ,yates1 and the ,garrick ,club4 ,in it was published a never-sent reply to a letter written by ,thackeray remonstrating with ,yates on the contents of a 8pen-and-ink0 sketch published by the latter in ,no4 #f of a periodical called ,town #i ,talk1 which resulted in ,yates's expulsion from the ,garrick ,club4 ,in this unsent letter he charged ,thackeray with having unjustifiably introduced portraits both in his letterpress and illustrations4 ,mr4 ,stephen ,price appeared as ,captain ,shindy in the ,book of ,snobs4 ,in the same book ,thackeray drew on a wood block what was practically a portrait of ,wyndham ,smith1 a fellow-clubman4 ,this appeared amongst 8,sporting ,snobs10 ,mr4 ,smith being a well-known sporting man4 ,in ,pendennis he made a sketch of a former member of the ,garrick ,club1 ,captain ,granby ,calcraft1 under the name of ,captain ,granby ,tiptoff4 ,in the same book1 under the transparent guise of the unforgettable ,foker1 he reproduced every characteristic1 both in language1 manner1 and gesture1 of ,mr4 ,andrew ,arcedeckne1 and even went so far as to give an unmistakable portrait of him1 to that gentleman's great annoyance4 ,besides the examples given by ,yates1 who was himself recognisable as ,george ,garbage in ,the ,virginians1 we know1 too1 that in the same novel ,theodore ,hook appeared as ,wagg1 just as he did #aj as ,stanislaus ,hoax in ,disraeli's ,vivian ,grey1 and that ,alfred ,bunn was the prototype of ,mr4 ,dolphin4 ,archdeacon ,allen was the original of ,dobbin1 ,lady ,langford of ,lady ,kew2 and last1 but not least1 we have lately learned from ,mrs4 ,ritchie that the inimitable ,becky had undoubtedly her incarnation4 ,so we see that the antecedent improbability is as the snakes in ,iceland2 for the above examples1 which no doubt could be largely added to1 prove that ,thackeray did not hesitate to draw direct from the model when it suited his purpose4 ,so far so good4 ,let us now proceed to inquire into the identity of the 8,marquis of ,steyne40 ,that his prototype was a ,marquis of ,hertford is axiomatic with all those who have ever taken any interest in the subject2 but when we come to inquire which marquis we find that opinions are astonishingly at variance4 ,it would seem almost as though any ,marquis of ,hertford would serve1 whereas in point of fact the portrait would be the grossest libel upon each of that noble line save one2 and so incidentally we shall1 by making the matter clear1 rescue from calumny an honourable #aa race1 which has hitherto through heedlessness been tarred with the same brush as its least honourable representative4 ,to show that this is not a reckless charge of inaccuracy1 ,i quote from four letters in my possession written by four persons most likely to have special knowledge upon the subject4 ,the first1 which is from a well-known printseller1 informs me 8that the ,marquis of ,steyne in ,vanity ,fair was ,francis1 second ,marquis of ,hertford1 who died in #ahbb40 ,the second1 which is from one more intimately acquainted with the family than any other living person1 says1 8,unquestionably ,francis1 third ,marquis of ,hertford1 the intimate friend of ,george ,,iv41 was the prototype of the ,marquis of ,steyne in ,thackeray's ,vanity ,fair40 ,the third letter1 which is from a well-known ,london editor1 in general the best-informed man ,i have ever met1 says1 8,it was the fourth ,lord1 who died in #ahgj40 ,the last of the four letters supports this view and says3 8,it was the fourth1 not the third1 ,marquis of ,hertford who was supposed to be the prototype #ab of ,thackeray's ,marquis of ,steyne4 4 4 4 ,he was ,richard ,seymour ,conway1 who was born in #ahjj and died in #ahgj40c ,now1 considering that these are the only opinions for which ,i have asked1 and that they are so curiously divergent1 it will1 ,i think1 be clear that it is time an authoritative declaration were forthcoming1 based upon independent inquiries4 ,it may as well1 then1 be stated once for all that no one who has taken the trouble to investigate the lives of the three marquises above mentioned can hesitate for a moment in identifying the 8,marquis of ,steyne0 with the third ,marquis of ,hertford4 ,to those who are curious to know very full particulars about these noblemen ,i would recommend the perusal of an interesting article entitled 8,two ,marquises0 in ,lippincott's ,magazine for ,february #ahgd4 ,nor should they fail to read ,disraeli's ,coningsby1 and compare 8,lord ,monmouth0 and his creature 8,rigby10 whose prototypes were the same ,marquis of ,hertford and his creature ,croker1 with the #ac 8,marquis of ,steyne0 and his managing man #c ,as ,i write1 a great daily newspaper informs the world that it was the first ,marquis4 8 ,wenham40 ,and1 whilst we are identifying the third ,marquis in ,coningsby and ,vanity ,fair1 reference may be made to another most unflattering portrait of that notorious nobleman in a book published anonymously in #ahdd1 which was immediately suppressed1 but is now not infrequently to be found in second-hand book catalogues4 ,the book was 7,i believe7 written by ,john ,mills1 and had ten clever etched plates by ,george ,standfast 7probably a nom de plume74 ,copies in the parts as published are excessively rare4 ,the title of the book is ,d',horsay2 or the ,follies of the ,day1 by a ,man of ,fashion4#d ,it dealt with the escapades1 vices1 and adventures of well-known men of the day under the following transparent pseudonyms3 ,count d',horsay1 the ,marquis of ,hereford1 the ,earl of ,chesterlane1 ,mr4 ,pelham1 ,general ,reel1 ,lord ,george ,bentick1 ,mr4 ,george ,robbins1 auctioneer1 the ,earl of ,raspberry ,hill1 ,benjamin ,d----i1 ,lord ,hunting-,castle1 and others4 ,the #ad account of the 8closing scene in the life of the greatest debauchee the world has ever seen1 the ,marquis of ,hereford10 is too horrible to repeat4 #d ,this scurrilous and poorly written book has lately been thought worthy of resurrection and republication4 ,so much for the identity of the 8,marquis of ,steyne0 as described in ,thackeray's letterpress1 which need not be dwelt upon here at greater length1 seeing that the immediate object of this chapter is to deal with the accompanying engraving and its history4 ,and in proceeding to this examination it should not be forgotten1 in fairness to the novelist1 that ,thackeray has explained that his characters were made up of little bits of various persons4 ,this is no doubt true enough4 ,at the same time1 we cannot but be aware that1 although the details may have been gathered1 the outline has been drawn direct from the life4 ,illustration3 ,the ,suppressed ,portrait of the ,marquis of ,steyne ,vanity ,fair was issued originally in monthly parts4 ,its first title was ,vanity ,fair3 ,pen and ,pencil ,sketches of ,english ,society4 ,its first number was dated 8,january #ahdg10 and had 8illustrations on steel and wood by the ,author40 ,on p4 #ccf of the earliest issue of this first edition appeared the wood engraving of the ,marquis of ,steyne1 wanting which a first edition is1 to the #ae bibliomaniac1 ,hamlet with ,hamlet left out4 ,in the later issues1 the engraving 7which ,i here reproduce7 was omitted1 as also was the 8rustic type0 in which the title appeared on the first page4#e ,the publishers were ,messrs4 ,bradbury and ,evans1 #af as was natural1 ,thackeray being at this time on the staff of ,punch4 ,in later editions of the novel1 published by ,messrs4 ,smith1 ,elder and ,co41 the engraving reappears--viz4 on p4 #bb of vol4 ii4 in the standard edition1 and on p4 #aeh1 vol4 ii41 of the twenty-six-volume edition4#f #e ,to the rabid bibliophile ,i here present another variation1 which has hitherto escaped the bookseller4 ,in the first edition1 on p4 #dec1 will be found the misprint 8,mr40 7for 8,sir07 ,pitt and ,lady ,jane ,crawley4 #f ,it does not appear amongst the illustrations to the biographical edition1 which are restricted to the full-page plates4 ,what was the reason for its sudden removal immediately after publication8 ,as ,i have said above1 it is commonly stated to have been in consequence of a threatened action for libel1 of course on account of the undoubted likeness of the 8,marquis of ,steyne0 to the third ,marquis of ,hertford4 ,but how does this tally with facts8 ,lord ,hertford had died in #ahdb1 whilst the first number of ,vanity ,fair did not appear until #ahdg4 ,now every lawyer knows that you cannot libel a dead man4 ,this was made clear some few years ago 7,i think7 in the case of the ,duke of ,vallombrosa against a well-known ,english journalist4 ,therefore it is quite certain that1 although legal proceedings might have been threatened1 they would certainly have collapsed4 #ag ,further than that1 those who knew the fourth ,marquis are aware that he was the last man in the world to embark upon a lawsuit or court publicity in any way4 ,and if any doubt upon the matter should still remain1 ,i am able to state positively that no trace is to be discovered amongst the ,hertford family papers of any action threatened or brought against ,thackeray on any grounds whatsoever4 ,i think1 then1 that we may dismiss once for all this aspect of the case4 ,at the same time it is not impossible that some hint may have reached the novelist's ears that the illustration gave pain to persons then living1 and that he promptly had it removed4 ,but against this view there is a very strong presumption4 ,if we turn the leaves of our original issue of ,vanity ,fair1 we shall1 on p4 #dba1 find another wood engraving1 and opposite p4 #deh a full-page steel engraving1 8,the ,triumph of ,clytemnestra10 both containing portraits of 8,the ,marquis of ,steyne40 ,now1 considering that that nobleman's august features are as recognisable in these as in the suppressed engraving1 it seems unreasonable to suppose that the one would have been removed #ah without the others1 in consequence of family representations4 ,possibly the real truth of the matter is a very much simpler one4 ,it may have been either that ,thackeray was himself disgusted with the brutal frankness of the picture when he saw it printed1 and insisted on its removal1 or that the block met with some accident4 ,indeed1 ,i am inclined to think1 judging from my memory of the subject1 that the idea of an action for libel is one that has only found expression in more modern booksellers' catalogues4 ,if ,i am not mistaken1 the older booksellers used to speak of the engraving not as 8suppressed10 but as 8extremely rare10 and that it was supposed to have disappeared from later issues because it was broken before many impressions were taken4 ,of course1 a threatened action for libel1 on account of its striking likeness to a member of the aristocracy1 added piquancy to the affair1 and so redounded to the benefit of the vendor of the earliest issue of a first edition2 and the identification of ,lord ,steyne's prototype1 in the letterpress1 gave colour to the idea4 ,once set going1 we may be certain that #ai the legend would not be allowed to lapse for lack of advertisement4 ,to adapt what ,dr4 ,johnson said of the 8,countess10 8,sir10 said he to ,boswell1 8in the case of a 7marquis7 the imagination is more excited40 ,the accompanying portraits of the third and fourth ,marquises of ,hertford give the reader an opportunity of forming his own opinion in the matter of identity4 ,that of the third ,marquis is from the engraving by ,william ,holl of the painting by ,sir ,thomas ,lawrence1 and certainly seems to suggest1 in the prime of life1 the features and expression which ,thackeray has portrayed in old age4 ,the bald head1 and the arrangement of the whiskers--which are allowed to approach the corners of the mouth--are incontestable points of resemblance2 and if the old voluptuary is somewhat more battered than ,lawrence's rather spruce model1 we must remember that his portrait was painted by the courtly ,president of the ,royal ,academy many years before the period of life at which he is introduced to us by the novelist4 ,certainly he is not an attractive object2 and ,i was amused to receive a letter from a member of the family to whom ,i first showed the wood #bj engraving in which these words occur3 8,i find we have no portrait whatever of the ,lord ,hertford in question1 and am not surprised at it if he at all resembled that of the ,marquis in ,vanity ,fair60#g ,as regards the fourth ,marquis1 it is a curious fact that1 notwithstanding his vast wealth1 and his tastes as an artist and connoisseur1 no painted or engraved portrait of him is known4 ,the photograph here reproduced is the only counterfeit presentment extant1 and is enough1 if further evidence were needed1 to dispose for ever of the idea that he was the prototype of the ,marquis of ,steyne4 ,it is hardly necessary to remind the reader that it is to him1 through ,sir ,richard and ,lady ,wallace1 that the nation owes a debt of gratitude for the splendid collection now housed in perpetuity in ,hertford ,house4#h #g ,this is the description of the ,marquis in ,coningsby3 8,lord ,monmouth was in height above the middle size1 but somewhat portly and corpulent2 his countenance was strongly marked3 sagacity on the brow1 sensuality in the mouth and jaw2 his head was bald1 but there were remains of the rich brown hair on which he once prided himself4 ,his large1 deep blue eye1 madid1 and yet piercing1 showed that the secretions of his brain were apportioned half to voluptuousness1 half to common sense40 ,this might well pass as a description of the ,thackeray drawing4 #h ,just before ,lady ,wallace's death1 an examination of the ,hertford ,house library failed to discover a first edition of ,vanity ,fair1 in which ,i fancied some note might possibly have been found4 ,this was probably due to the fact that a large number of the ,hertford books were destroyed in the ,pantechnicon fire4 ,illustration3 ,the ,third ,marquis of ,hertford4 7,from the engraving by ,w4 ,holl1 of the painting by ,sir ,thomas ,lawrence7 ,illustration3 ,the ,fourth ,marquis of ,hertford4 7,from a photograph7 #ba ,it will be noticed that in this photograph ,lord ,hertford wears his ,star of the ,order of the ,garter1 to obtain which he made the 8tremendous sacrifice0 of which an amusing account is given in the ,lippincott article mentioned above4 ,of him the ,speaker wrote at the time of his death3 ,living in ,paris a quiet and rather solitary life--in habits more a ,frenchman than an ,englishman2 in tastes an artist and a connoisseur2 in purse and opportunity unlimited by any niggard need of self-control--the fourth ,marquis of ,hertford busied himself in gathering together from the treasure-houses of ,europe innumerable precious specimens of the painter's1 the goldsmith's1 and the cabinetmaker's art4 ,year after year1 with tranquil perseverance1 he heaped up on every side of him all the beautiful objects on which he could lay hands--pictures1 miniatures1 furniture1 enamels1 china and plate1 bronzes1 and coats of armour--until his storehouses were full to overflowing of treasures which1 except for the pleasure of procuring them1 he could hardly ever have enjoyed4 ,in this congenial task he was assisted by a young ,englishman1 the secret of whose connection with the ,hertford family1 if any such there was1 the public has never penetrated yet4 ,to this young ,englishman1 who was well known and liked in ,parisian society in the tawdry splendour of the ,second ,empire1 and whose active generosity #bb won him wide esteem in that desolated capital amid the terrible events of the winter of #ahgj-ga1 ,lord ,hertford bequeathed the wonderful possessions which he had accumulated in a lifetime of discriminating labour4 ,when the ,franco-,german ,war and the ,commune were over1 ,richard ,wallace brought his spoils safely home1 and exhibited them for a time at the ,bethnal ,green ,museum while he built the great galleries to hold them in ,manchester ,square4 ,but even here they were not destined to bring much happiness to their possessor4 ,after a short time ,sir ,richard ,wallace was left heirless--like ,lord ,hertford--by a cruel stroke of fate2 and now1 by his widow's gift1 the splendid inheritance1 which has passed so quickly from the keeping of the hands that laid it up1 goes to enrich a public which will not be ungrateful for the donor's rare munificence1 or unmindful of the sad and curious story it recalls4#i #i ,a footnote on p4 #bbi1 vol4 iv4 of ,g4 ,e4 ,c4's ,complete ,peerage says3 8,the fourth ,marquis is said never to have been in ,england4 ,he left his ,irish estates 7worth #ej1jjj a year7 and most of his personalty 7which included the well-known ,hertford collection of pictures7 to ,sir ,richard ,wallace1 ,bart4 7so cr4 #ahff71 who is supposed to have been an illegit4 son1 either of himself 7when aged #ah71 or of his father1 or even 7not improbably7 of his mother2 which ,richard 7b4 in ,london1 #bfth ,july #ahah7 d4 s4p4 at ,paris1 #bjth ,july #ahij1 in his #gbnd year1 and was bur4 in the family vault at ,pre-la-,chaise4 ,sir ,richard's #8art treasures' 7derived as above stated7 were valued at his death in #ahij at above two millions40 ,to return again to the suppressed wood engraving itself1 it is curious to notice that old 8,lady ,kew0 of ,the ,newcomes was sister to ,lord ,steyne4 ,now the name 8,kew0 at once suggests #bc to those conversant with the early doings of the century the nickname of the notorious ,duke of ,queensberry1 known to all and sundry as 8,old ,q10 and sets us considering why the name should suggest itself to ,thackeray in connection with ,lord ,hertford4 ,and what do we find8 ,when the third ,marquis was but twenty-one1 he married a young lady named ,marie ,fagniani4 ,she was believed to be the daughter of the ,duke of ,queensberry and an opera dancer of that name4 ,nothing would be more natural1 therefore1 than that ,thackeray1 having saturated himself with the surroundings of the prototypes of his characters1 should1 probably half unconsciously1 have seized upon a capital name suggested to him in the course of preparing for his novel1 and so adapted it to his requirements4 ,this suggestion ,i only make for what it is worth4 ,it may1 of course1 merely be that a search through the suburban directory suggested the name1 as was no doubt the case in apportioning to her ladyship's husband his second title of ,lord ,walham4 ,at any rate1 the coincidence seems worth recording4 ,in conclusion1 there can be no possible doubt #bd that so far as ,thackeray's letterpress is concerned1 the prototype of the ,marquis of ,steyne 7,lord of the ,powder ,closet1 etc4 etc47 was ,francis ,charles ,seymour ,conway 7third ,marquis of ,hertford7 of his branch2 ,earl of ,hertford and ,yarmouth1 ,viscount ,beauchamp1 ,baron ,conway1 and ,baron of ,ragley in ,england2 and ,baron ,conway and ,kilultagh in the peerage of ,ireland2 and as regards the suppressed wood engraving1 there will1 ,i think1 be little question that ,thackeray the artist dotted his i's by an intentional representation of the noble lord's not altogether attractive features4 ,illustration3 ,the ,third ,marquis of ,hertford when ,lord ,yarmouth4 7,from the coloured caricature by ,richard ,dighton7 ,it is1 however1 only fair to state that ,lord ,hertford was probably by no means the unmitigated scoundrel that those familiar with the 8,marquis of ,steyne0 might be led to suppose4 ,that he participated in all the amusements and most of the follies of a notorious society there can be little doubt4 ,at the same time1 we have it on record 7in the somewhat pompous diction of the period7 that he was extensively read in ancient and modern literature1 that his judgment was remarkable for its solidity and sagacity1 and that his #be conversation was enlivened by much of that refined and quaint pleasantry which distinguished his near relative1 ,horace ,walpole4 ,he was a distinguished patron of all the arts2 and those who were more intimately acquainted with his private life gave him the still higher praise of being a warm1 generous1 and unalterable friend4 8,it is but justice to add10 to quote the final words of the notice referred to1 8that the writer has accidentally become acquainted with instances of his ,lordship's benevolence1 the liberality of which was equalled only by the delicacy with which it was conferred1 and the scrupulous care with which he endeavoured to conceal it40 ,the caricature portrait of the third ,marquis here reproduced was etched1 as will be seen1 by ,richard ,dighton in #ahah1 when this ,marquis's father was alive1 and he was only the ,earl of ,yarmouth4 ,the watermark on the paper is #ahbf1 which explains the inscription 8,marquis of ,hertford10 evidently a later addition--an ex post facto puzzle which proved insoluble until it occurred to me to hold the portrait up to the light4 #bf ,,chapter ,,iii ,,the ,,suppressed ,,portrait ,,of ,,dickens1 8,,pickwick10 8,,the ,,battle ,,of ,,life10 ,,and ,,grimaldi ,having dealt in the last chapter with the suppression of the well-known ,thackeray wood-cut of the 8,marquis of ,steyne10 we naturally turn next in order to the other great ,victorian novelist1 ,charles ,dickens4 ,much1 of course1 has been written about the ,buss plates in ,pickwick1 and much about the 8,fireside ,scene0 in ,oliver ,twist4 ,all readers of ,forster's ,life of ,charles ,dickens know something of the wood engraving in ,the ,battle of ,life which ought to have been1 but never was1 cancelled2 and some know what to look for in the vignette title of ,martin ,chuzzlewit4 ,it is1 however1 time that the scattered details should be grouped1 that reproductions of the plates themselves should make reference easy to those #bg who would identify their possessions1 and that the additional information which is in some cases scattered about in various impermanent writings of my own and others should be focussed for the greater convenience of the collector4 ,in the first place1 ,i shall present to the reader a suppressed portrait of the great novelist1 which has1 ,i believe1 never since been reproduced4 ,it was published about the year #ahcg by ,churton1 but as to the name of the artist by whom it was etched there is a mystery which yet awaits solution4 ,the plate is1 as will be noticed1 signed with the familiar pen-name 8,phiz10 but was almost immediately repudiated by the chartered bearer of that title1 ,h4 ,k4 ,browne4 ,it was promptly withdrawn from publication1 and is now1 as a necessary consequence1 much sought after by the collector4#aj ,of it the author of ,charles ,dickens1 the ,story of his ,life1 writes3 ,a very remarkable portrait was etched about #ahcg with the name 8,phiz0 at the foot4 ,it represents ,dickens #bh seated on a chair and holding a portfolio4 ,in the background a ,punch-and-,judy performance is going on4 ,the face has none of that delicacy and softness about it which are observable in the ,maclise portrait4 ,it looks1 however1 more like the real young face of the older man1 as revealed in the photograph now publishing i4e4 just after ,dickens's death4 ,this portrait is very rare1 and it is understood that it was withdrawn from publication soon after it appeared4 ,mr4 ,hablot ,k4 ,browne1 the genuine 8,phiz10 denies all knowledge of it4 #aj ,since writing this1 ,i have experienced a piece of scurvy luck4 ,entering a shop in the outskirts of ,birmingham1 ,i saw an impression of the etching lying on a table4 ,i inquired its price and was met by the answer that it had just been sold to a lady for eighteenpence6 ,the ,hotten memoir thus whets the appetites of its readers1 but does not offer to satisfy them by a reproduction4 ,this obvious duty ,i therefore here take the opportunity of discharging1 and would advise the book-hunter to make a mental note of the etching in that pix of the brain where is secreted the reagent which separates the rare gold of the bookseller's threepenny box from its too ordinary dross4 ,the reproduction here given is about the size of the original etching4 ,so much for the suppressed portrait4 ,now let us take up our first edition of ,pickwick1 and say what has to be said about the much-discussed ,buss plates and their substitutes4 ,illustration3 ,the suppressed portrait of ,charles ,dickens ,pickwick1 as we all know1 was first published in parts1 and only one number had appeared when #bi ,robert ,seymour1 its illustrator1 died by his own hand4 ,messrs4 ,chapman and ,hall1 the publishers1 were at their wits' end to get the new number illustrated in time for publication4 ,jackson1 the well-known wood-engraver1 who was at the time working for them1 proposed for the task ,r4 ,w4 ,buss1 a 8gentleman already well known to the public as a very humorous and talented artist40 ,the publishers gladly adopted the suggestion1 and the appointment was made4 ,all this we find very fully set out in ,mr4 ,percy ,fitzgerald's ,history of ,pickwick1 to which ,i would refer the reader who is anxious to acquaint himself with details of the transaction4 ,the ,buss etchings1 which we here reproduce1 had for their subjects 8,the ,cricket ,match0 and 8,tupman and ,rachel10 and are to be found respectively opposite pp4 #fi and #gd of the earliest issues of the first edition of the immortal romance4 ,they were1 in the words of the artist himself1 8abominably bad10 and he was immediately superseded as illustrator by ,h4 ,k4 ,browne1 who was destined to be inseparably connected with the novelist's work for so long a period4 #cj ,this episode has been so often dwelt upon1 and so exhaustively dealt with1 that ,i shall not do much more than point out how those who have written on the subject have altogether missed what is perhaps the most important link in the whole chain of circumstances4 ,so put to it1 as ,i have said1 were the publishers to get the new number out in time lest an expectant public should be disappointed1 that they were forced to fix upon ,seymour's substitute without consulting ,dickens4 ,this was really the whole crux of the situation4 ,the author only recognised the failure of the plates4 ,he knew nothing of the difficulties under which ,buss had laboured1 and so naturally made no allowances1 and knew of no reason why subsequent ones should be better4 ,the plates unquestionably were poor1 but we find from ,mr4 ,buss's own private ,,ms41 to which1 by his son's kindness1 ,i have had access1 that this was not by any means mainly the fault of the artist4 ,he had previously had no experience in etching1 and only undertook the work after much pressure1 to accommodate the publishers4 ,to quote from his own account3 #ca ,illustration3 ,the 8,pickwick0 suppressed plate3 8,the ,cricket ,match40 7,by ,r4 ,w4 ,buss7 ,at ,seymour's death1 ,hall engaged me to illustrate ,charles ,dickens's ,pickwick4 ,i commenced practice1 and worked hard1 ,i may say day and night1 for at least a month on etching1 and ,i furnished the illustrations for ,pickwick4 ,without any reason assigned1 ,hall broke his engagement with me1 in a manner at once unjust and unhandsome4 ,as a matter of fact1 the plates1 as they appeared1 were not etched by ,buss at all1 but by a professional etcher after his designs4 ,and it is curious to note that each of the plates is1 notwithstanding1 inscribed1 8,drawn ,etch'd by ,r4 ,w4 ,buss40 ,the artist's bitterness against his employers was not unnatural4 ,at the same time1 we must remember that the fact that they had on the spur of the moment to decide upon an artist1 without consulting ,dickens1 puts the matter in a very different light4 ,the fortunes of the venture were at stake4 ,the author1 at all hazards1 must be humoured4 ,his will was paramount1 and when he insisted upon ,buss's supersession by ,h4 ,k4 ,browne1 there was practically an end of the matter4 ,happily ,buss's labour was not all lost1 and it was with much pleasure that ,i seized the opportunity offered me by the editor of the #cb ,magazine of ,art in ,june #aijb1 to point out in that publication how perverse has been the fate which has made the name of an artist of no mean order more familiar by his few failures than by his many successes4 ,it is not generally known that there are in existence two etched plates by ,buss showing that he contemplated a series of extra illustrations to ,pickwick4 ,the one is a title-page with ,mr4 ,pickwick being crowned2 the other is rather a poor rendering of 8,the ,break-down40 ,but to return to the plates themselves3 only about seven hundred copies were published when plates by ,browne were substituted for them4 8,the ,cricket ,match0 was wholly suppressed1 and the subject of 8,tupman and ,rachel0 was etched over again1 considerably altered1 but evidently founded upon the ,buss plate4 ,the latter is here reproduced for the purpose of comparison4 ,illustration3 ,the 8,pickwick0 suppressed plate 8,tupman and ,rachel40 7,by ,r4 ,w4 ,buss7 ,illustration3 8,tupman and ,rachel40 7,by ,h4 ,k4 ,browne7 ,that every ,dickens collector desires to possess one of the seven hundred copies of the first issue of the first edition which contain the ,buss plates1 is a matter of course1 and enough has been said to make clear the reason of such desire4 ,should any of my readers fail to sympathise1 he must take #cc it as an incontrovertible sign that he is immune from that most delightful of all diseases1 bibliomania4 ,it need only be added that1 in the beautiful 8,victorian ,edition0 of the novel1 published in two volumes by ,messrs4 ,chapman and ,hall in #ahhg1 facsimiles may be seen of the original drawings made for the suppressed plates1 as well as two unpublished drawings prepared by ,mr4 ,buss1 but not used4 ,the subjects of these are 8,mr4 ,pickwick at the ,review10 and 8,mr4 ,wardle and his ,friends under the ,influence of the ,salmon40 ,the first is an excellent drawing1 and goes far to prove that1 had ,buss been given time1 he would have no more failed as illustrator of ,pickwick than he did as illustrator of various other most successful publications4 ,the same edition also contains facsimiles of an unused drawing by 8,phiz10 8,mr4 ,winkle's ,first ,shot10 and of a water-colour drawing of 8,tom ,smart and the ,chair10 sent in to the publishers by ,john ,leech as a specimen of his work4 ,from which it will be seen that the 8,victorian ,edition10 limited to two thousand copies1 is also one which every ,dickens lover ought1 if possible1 to possess4 #cd ,the originals of the ,buss drawings were in the possession of the artist's daughter1 ,miss ,frances ,mary ,buss1 the well-known founder of the ,north ,london ,collegiate and ,camden ,schools1 until her death a few years ago4 ,they were then sold1 and ,i have been unable to discover into whose hands they have passed4 ,so much for the ,pickwick suppressed plates1 which1 if strict chronology were to be observed1 should naturally be followed by an account of the 8,rose ,maylie and ,oliver0 plates in ,oliver ,twist4 ,these1 however1 we shall hold over for another chapter1 as they will have to be considered at some length4 ,meanwhile1 we will deal shortly with the curious wood engraving in ,the ,battle of ,life1 and with the etching of 8,the ,last ,song0 in ,the ,memoirs of ,joseph ,grimaldi4 ,the former is so far germane to our subject that it should have been suppressed1 but1 out of consideration for the artist1 was not4 ,illustration3 ,the ,battle of ,life4 8,leech's grave mistake0 ,every ,dickens collector desires to possess the complete set of the 8,christmas ,books0 in their dainty red cloth bindings1 dated from #ahdc to #ahdh4 ,a really desirable set includes1 of course1 #cf the ,christmas ,carol1#aa with coloured plates by ,leech1 with the green end-papers and 8stave #a02 ,the ,chimes1 with the publishers' names within the engraved part of the title-page2 and ,the ,battle of ,life1 with the publishers' names on both titles4 ,but it is only the last of these that is entitled to mention in a treatise on cancelled illustrations1 and that1 as ,i have said1 not because it was suppressed1 but because it should have been4 #aa ,it may be mentioned that there are two or three copies of the ,christmas ,carol known with the title-page and half-title printed in green and red1 instead of in red and blue4 ,much store is laid by this variation amongst really moonstruck collectors4 ,by those who are familiar with the story it will be remembered that an early part of the plot leads one to suppose that ,marion ,jeddler had eloped with ,michael ,warden1 when1 as a matter of fact1 she had merely escaped to her aunt4 ,leech1 who was engaged as illustrator1 was immensely busy1 and only read so much of the story as seemed necessary for his purpose4 ,as a result he was deceived1 as ,dickens intended his readers should be1 and designed the double illustration here reproduced1 in which the festivities to welcome the bridegroom at the top of the page #cg contrast with the flight of the bride in company with ,michael ,warden represented below4 ,thus was ,dickens curiously 8hoist with his own petard40 ,and the curious thing is that1 notwithstanding the publicity given to the mistake in ,forster's ,life of ,dickens1 this tragic woodcut1 which wrongs poor ,marion's innocence and makes a hash of the whole story1 is reproduced in the reprints up to this very day4 ,the poor girl's tragic figure remains1 and seems likely to continue to do so1 a victim to the stereotype4 ,this episode is generally referred to as 8,leech's grave mistake10 and grave undoubtedly it was2 but the matter has its bright side1 which redounds to the credit of the great novelist4 ,i take the liberty of quoting from what has always seemed to me a very noble letter when we remember that ,dickens was of all men most sensitive to any shortcomings in the work of his collaborators4 ,he writes to ,forster3 ,when ,i first saw it it was with a horror and agony not to be expressed4 ,of course ,i need not tell you1 my dear fellow1 ,warden has no business in the elopement scene4 ,he was never there4 ,in the first hot sweat of this surprise and novelty ,i was going to implore the printing of that sheet to #ch be stopped1 and the figure taken out of the block4 ,but when ,i thought of the pain that this might give to our kind-hearted ,leech1 and that what is such a monstrous enormity to me1 as never having entered my brain1 may not so present itself to others1 ,i became more composed1 though the fact is wonderful to me4 ,of course1 had it been in these days of hurried publication1 ,dickens would hardly have given the matter a second thought4 ,the average illustrator of to-day is curiously superior to the requirements of his author4 ,he either does not read the episodes that he is called upon to illustrate1 or1 if he reads them1 he does not grasp their meaning1 or1 if he grasps their meaning1 the meaning does not meet with his approval4 ,at any rate1 he constantly makes a hash of the whole thing4 ,take for example ,penelope's ,english ,experiences1 by ,miss ,kate ,wiggin1 now lying before me4 ,look at the illustration1 opposite p4 #eh1 of ,lady de ,wolfe's butler1 who struck terror into ,penelope's soul because he did not wear a livery1 and try1 if you can1 to recognise him in the shoulder-knotted1 stripe-waistcoated1 plush-breeched1 silk-stockinged menial with an 8unapproachable haughtiness of demeanour10 which the illustrator has portrayed4 #ci ,nor is this one of a few exceptional cases3 their number might be multiplied ad infinitum4 ,but to return to ,the ,battle of ,life4 ,curiously enough1 there is another little episode connected with this book1 never1 ,i believe1 noticed before1 which accentuates our impression of the generosity of ,dickens's character4 ,three years after its publication a somewhat scurrilous little volume 7now excessively rare71 bearing the allusive title ,the ,battle of ,london ,life2 or ,boz and his ,secretary1 issued from the press4 ,it was illustrated by six lithographs signed with the name of ,george ,augustus ,sala4 ,it was a poor enough performance1 but attracted attention by its ad captandum title1 and the portrait of 8,boz in his ,study40 ,it is an imaginary and far from complimentary account of ,dickens's employment of a secretary1 whose occupation it is to show him round the haunts of vice in ,london1 by way of providing 8local colour0 for the novels4 ,eventually the secretary turns out to be a detective1 who has been told off by the ,government to discover the nature of the novelist's intimacy with the revolutionist1 ,mazzini4 ,it is a vulgar little #dj brochure1 and1 for all its futility1 must have been very distasteful to the idol of the day4 ,it was therefore the more magnanimous of ,dickens to ignore the part which ,sala had in it1 and to speak so generously of him as we find him doing in the ,life1 besides employing him and pushing him1 as he did largely later on1 in his periodicals4 ,a smaller man would not have allowed himself to forget such youthful indiscretions1 for 8memory always obeys the commands of the heart40 ,judged as a work of art1 ,the ,battle of ,life is perhaps the least successful of ,dickens's 8,christmas ,books40 ,edward ,fitz,gerald's opinion of it was shown in an autograph letter which came into the market only the other day4 8,what a wretched affair is ,the ,battle of ,life60 he writes2 8it scarce even has the few good touches that generally redeem ,dickens40 ,illustration3 8,the ,last ,song0 with the suppressed border4 7,by ,george ,cruikshank7 ,whilst we are on the subject of an illustration which should have been suppressed but was not1 it should be pointed out that this was not the only occasion upon which ,leech misunderstood ,dickens's purport4 ,this we learn from ,mr4 ,f4 ,g4 ,kitton's monumental work1 ,dickens and #da his ,illustrators4 ,here he tells us that in another ,christmas book1 ,the ,chimes1 ,leech delineated1 in place of ,richard as described in the text1 an extremely ragged and dissipated-looking character1 with a battered hat upon his head4 ,when the novelist saw it the drawing had already been engraved1 but the woodcut was promptly suppressed2 there still exists1 however1 an impression of the cancelled engraving1 which is bound up with what is evidently a unique copy of ,the ,chimes 7now the property of ,mr4 ,j4 ,p4 ,dexter71 where blank spaces are left for some of the woodcuts4 ,this particular copy is probably the publishers' 8make-up10 which had accidentally left their hands4 ,let us now consider for a moment a very remarkable etching which was1 so far only as regards an important portion of it1 cancelled in all but the very first issue of ,the ,memoirs of ,joseph ,grimaldi4 ,these were published in two volumes in #ahch4 ,besides writing the preface1 ,dickens was only responsible for the editing of ,mr4 ,egerton ,wilks's manuscript1 which had been prepared from autobiographical notes4 ,a good deal of fault was found with the work1 particularly #db on the ground that ,dickens himself could never have seen ,grimaldi4 ,to this he very pertinently replied1 8,i don't believe that ,lord ,braybrooke had more than the very slightest acquaintance with ,mr4 ,pepys1 whose memoirs he edited two centuries after he died60#ab ,the volumes are now most valued for the twelve etchings by ,george ,cruikshank2 but the important thing from the bibliolater's point of view is to possess the earliest issue with 8,the ,last ,song0 surrounded by a grotesque border4 ,this border1 which is here produced1 was removed from the plate after the first issue of the first edition4 ,i have just had offered to me a copy of this edition containing 8,the ,last ,song0 in the two states1 i4e4 with and without the border1 for the modest sum of eight guineas6 #ab ,my attention was lately called to a copy of the memoirs in which the former owner had pasted the following amusingly irrelevant note3--8,at the ,beckford sale a copy of the famous ,grimm--the ,grimm with the illustrations printed in bronze-coloured ink--fetched #fd40 ,i have a very shrewd suspicion that the annotator had an unmethodical brain1 and believed ,grimm to be short for ,grimaldi6 ,requiescat in pace4 #dc ,,chapter ,,iv ,,dickens ,,cancelled ,,plates3 8,,oliver ,,twist10 8,,martin ,,chuzzlewit10 8,,the ,,strange ,,gentleman10 8,,pictures ,,from ,,italy10 ,,and 8,,sketches ,,by ,,boz40 ,in dealing with the episode of the suppressed plate in ,oliver ,twist we must be careful to bear in mind the fact that between the publication of ,pickwick and the later novel there was an essential difference4 ,the former was first published in self-contained parts1 whereas the latter was published serially in ,bentley's ,miscellany4 ,hence1 the first editions of ,pickwick in book form are to be met with bound from the parts1 whereas the first editions in book-form of ,oliver ,twist are only to be found as issued by the publishers complete in three volumes4 ,and unless we grasp this distinction at the outset we shall find it impossible to understand the apparently erratic appearance and disappearance #dd of the suppressed plate of 8,rose ,maylie and ,oliver3 the ,fireside ,scene0 and its substitute4 ,the first instalment of the novel was published in the second number of ,bentley's ,miscellany1 ,february #ahcg1 and it continued to run for nearly two years and a quarter4 ,from this it will be seen that the last instalment of the novel was not published until three months of the year #ahci had elapsed4 ,in the meantime1 however1 the novel and the illustrations had been completed1 and the whole story was printed in book form and published in three volumes in the second year of its serial issue1 the exact date being ,november #i1 #ahch4 ,as a consequence we shall find the following curious result--namely1 that the owners of the very earliest issue of ,oliver ,twist find themselves not in the happy possession of the suppressed plate1 as would be naturally expected1 but in the melancholy possession of its exceedingly ugly substitute4 ,this1 to the uninitiated1 would prove as great a puzzle as to ,macaulay's ,new ,zealander would appear the fact that in ,truro ,cathedral the older #de structure is of a later style than the new4 ,but this is comparing small things with great4 ,for we are fain to confess that1 unlike the law1 de minimis curat helluo librorum4 ,thus1 then1 we have to face this apparent anomaly1 that1 to possess a copy of ,oliver ,twist with brightest impressions of the etchings throughout1 we are under the necessity of combining the early plates from ,bentley's ,miscellany with the later plates from the first edition published in volume form4 ,this not uninteresting fact ,i may1 ,i believe1 claim to be the first to point out1 and it goes far to explain a very misleading note on p4 #aea of ,reid's monumental ,catalogue of ,george ,cruikshank's ,works1 which shows clearly that the late ,keeper of the ,prints was greatly at sea in the matter4 ,referring to the 8,fireside ,scene10 he says3 8,the plate was used in #ahch1 when the work reappeared in three volumes1 in lieu of the preceding 7#8,rose ,maylie and ,oliver at ,agnes's ,tomb'71 which was thought by the publisher to be of too melancholy a nature for the conclusion of the story40 ,from which any casual reader would be #df led to the conclusion that 8,rose ,maylie and ,oliver at the ,tomb0 was the suppressed plate1 and that the 8,fireside ,scene0 was substituted for it1 whereas exactly the opposite was the case4 ,the novel was ready for publication complete in three volumes in the autumn of #ahch4 ,the illustrations for the last volume had been somewhat hastily executed 8in a lump40 ,and ,dickens1 who always was most solicitous about the work of his collaborating artists1 did not set eyes upon them until the eve of publication4 ,one of them1 8,the ,fireside ,scene10 he so strongly objected to that it had to be cancelled1 and he wrote to the artist asking him to design 8the plate afresh and to do so at once1 in order that as few impressions as possible of the present one may go forth40#ac ,the publication of the book1 however1 could not be delayed1 and thus we have it that the earliest issue of the first edition of ,oliver ,twist in book-form contains the 8,fireside ,scene0 opposite p4 #cac1 vol4 iii41 which it is the desire of every ,dickens collector to possess1 while the later issue of the latter part of the novel in ,bentley's ,miscellany #dg contains that which ,cruikshank substituted for it at the novelist's request4 #ac ,vide ,forster1 ,life of ,charles ,dickens1 vol4 i4 p4 #aja4 7,library ,edition47 ,both the plates are here reproduced for the convenience of the owner of this or that edition4 ,but this is not all that has to be said upon the subject of the 8,rose and ,oliver0 plates1 and again ,i claim to be the purveyor of a little exclusive information4#ad ,it has generally been supposed that ,cruikshank1 although naturally put about by ,dickens's disapproval1 did immediately proceed to carry out his author's suggestion4 ,for example1 we find ,mr4 ,francis ,phillimore1 in his introduction to the ,dickens ,memento1 published by ,messrs4 ,field and ,tuer1 saying3 8,the author was so disgusted with the last plate that he politely but forcibly asked ,cruikshank to etch another4 ,this was done at once40 ,i am1 however1 in a position to prove that this was emphatically not the case4 ,and it is what one would naturally expect1 for ,george was the last person in the world to acquiesce calmly and unhesitatingly in the condemnation of work which he had himself deemed sufficiently good4 #dh #ad ,i first alluded to this in ,temple ,bar for ,september #ahib4 ,in the year #ahib ,i had the privilege of examining the splendid collection of ,mr4 ,h4 ,w4 ,bruton1 of ,gloucester1 which has since been dispersed4 ,on that occasion he drew my attention to a unique impression of the 8,fireside0 plate in his possession1 from which we 7he was the first to see the point7 drew the necessary conclusion which follows4 ,the importance of the impression lies in the fact that it shows that a large amount of added work had been put into the plate1 principally of a stipply nature1 after all the impressions which had so displeased ,dickens had been struck off4 ,by which it is evident that ,george tried hard to improve the original plate instead of at once falling in with the suggestion that the subject should be designed afresh4 ,this proof was probably submitted to ,dickens and again rejected1 for no impressions of the plate with stippled additions are known to have been published4#ae ,and plainly it was only after considerable effort to make the plate do1 that the artist designed the #di far worse picture of 8,rose ,maylie and ,oliver before the ,tomb of ,agnes10 which is a questionable adornment to the later issues of the story4 ,and had it not been for the delay so caused1 it is more than probable that the suppressed plate would have been even a greater rarity than it actually is4 #ae ,it need hardly be said that if any of my readers finds that his copy contains 8,the ,fireside ,scene0 differing from the first of those here produced1 he may congratulate himself on the possession of a great rarity4 ,illustration3 ,the suppressed plate from 8,oliver ,twist03 8,the ,fireside ,scene0 ,illustration3 ,the suppressed plate from 8,oliver ,twist03 8,the ,fireside ,scene10 as worked upon by ,cruikshank ,as ,i have said above1 ,mr4 ,bruton's collection was dispersed in #ahig at ,sotheby's4 ,no4 #ade in that sale was an unrivalled run of the ,oliver ,twist illustrations1 seeing that it consisted of a complete set of proofs of the etchings1 and included1 with other rarities1 the unique proof just mentioned4 ,the lot sold for #cb3ajs4 ,by the kindness of its late owner1 ,i am enabled to present to my readers a reproduction of this unique impression of the plate in its second state4 ,so much then for the story of the suppressed plate4 ,there is1 however1 something more to be said of its substitute4 ,if we turn to our edition of ,oliver ,twist1 so long as it does not happen to be one published subsequently to #ahde1 or one containing the suppressed plate1 we shall find ,rose standing with her #ej arm on ,oliver's shoulder before a tablet put up to his mother's memory1 and we shall find that ,rose's dress is light in colour save for a dark shawl or lace fichu1 which is thrown across her shoulders and bosom4 ,in the #ahdf edition of the book1 the plate has been largely touched up and shaded1 and ,rose's dress turned into a black one4#af ,now1 it is perfectly evident that it is the old plate altered and used over again and not a new plate copied from the old1 for every line and every dot in the illustration to the earlier editions reappears in this4 ,the perplexing matter that ,i have to draw your attention to1 however1 is that1 in the same lot 7#ade7 at the ,bruton sale mentioned above1 there was sold a proof of this plate with ,rose ,maylie in the black dress1 and this a proof before letters1 an impossible nut for the amateur to crack who does not know that the lettering of plates may be stopped-out or burnished away or covered up for the striking off of misleading impressions2 from which the moral may be drawn that it is better to believe in proof impressions after letters where they are well #eb authenticated1 than to presume that a proof is before letters merely because those letters do not appear4 ,verb4 sat sap4 ,the plate in this state is here reproduced for the sake of comparison4 ,illustration3 ,rose ,maylie and ,oliver at ,agnes's ,tomb4 7,the substituted plate in two states7 #af ,the dress is also black in a reprint of the first edition published by ,messrs4 ,macmillan in #ahib1 and in the large edition with the illustrations coloured1 published by ,messrs4 ,chapman and ,hall in #ahie4 ,before passing from ,oliver ,twist1 it should be pointed out that the first issue of #ahch1 which contains the suppressed plate1 is also differentiated from the second issue of the same year by what is sometimes alluded to as the 8suppressed title-page10 which runs as follows3--8,oliver ,twist2 _/ or1 the _/ #8,parish ,boy's ,progress2' _/ by #8,boz1' _/ in three volumes1 _/ ,vol4 ,i 7,,ii4 or ,,iii47 _/ ,london3 _/ ,richard ,bentley1 ,new ,burlington ,street4 _/ -- -- _/ #ahch40 ,the second issue1 with the substituted plate1 has3--8,oliver ,twist _/ ,by _/ ,charles ,dickens1 _/ ,author of #8,the ,pickwick ,papers1'0 the rest of the title being as in the first4 ,it is curious to notice1 further1 that in a later edition the original title is resumed4 ,so much for ,oliver ,twist4 ,we must not1 however1 quit ,dickens without mentioning one or two other items1 which more or less of right find their place in a treatise on 8,suppressed ,plates40 #ec ,there is1 for example1 the etched title-page to the first issue of the first edition of ,martin ,chuzzlewit1 where the reward on the direction post appears as 8#ajj0 instead of 8#ajj10 which is often wrongly labelled 8suppressed40 ,as a matter of fact it was not suppressed at all4 ,it is nothing more than the first state of a plate which was afterwards altered4 ,however1 the bait is so valuable a one with which to entice the bibliomaniac1 that there is no prospect of the description being lightly relinquished1 and as it is one object of this treatise to protect the unwary1 allusion to it is not out of place4 ,the fact that it is the title-page issued after the book had appeared serially with its forty illustrations1 disposes of any lingering idea that in acquiring it we are assured of the possession of early impressions of the other plates4 ,but the undiscriminating bibliomaniac requires no logical justification1 and the plate will still retain its market value4 ,a like variation is to be found in a well-known etching by ,george ,cruikshank1 entitled 8,the ,worship of ,wealth40 ,the head of ,mammon is represented by a small money-bag1 and the #ed features of the face by the letters ,,gold4 ,of this plate only one state was known until in a happy moment one of our best-known collectors discovered and secured a unique proof with all the letters printed in reverse1 thus3-- ,illustration --a triumph which only the true dilettante will appreciate at its proper value4 ,another variation of the same kind is to be found in the first and second issues of ,pine's beautiful edition of ,horace 7#agcc71 in which the text is engraved throughout4 ,in the first there is the misprint 8,post est0 on the medal of ,csar4 ,in the second 8,potest0 has been substituted4 ,copies containing the mistake fetch twice as much in the market as those containing the correction6 ,this is1 however1 justifiable1 as the mistake connotes an early set of impressions4 ,illustration3 ,the ,strange ,gentleman ,another ,dickens plate demanding mention is the exceedingly rare etched frontispiece by 8,phiz10 to be found in only a few copies of ,the ,strange #ee ,gentleman1 published in #ahcg by ,messrs4 ,chapman and ,hall4 ,this 8,comic ,burletta0 was founded upon 8,the ,great ,winglebury ,duel10 in ,sketches by ,boz1 and was first performed at the ,st4 ,james's ,theatre in ,september #ahcf4 ,a second edition was #ef published in #ahfj with a coloured etching by ,mr4 ,f4 ,w4 ,pailthorpe1 the last illustrator to carry on the tradition of ,cruikshank and ,h4 ,k4 ,browne4 ,the 8,phiz0 etching is here reproduced4 ,even the second edition is extremely rare1 and readily sells for between two and three pounds4 ,the reason for the disappearance of the 8,phiz0 plate is not known1 and ,i only give particulars of it here because of its excessive rarity1 and because it is constantly referred to as 8suppressed10 though with no strict justification4 ,the ,british ,museum copy of the book only contains ,mr4 ,pailthorpe's frontispiece1 but a copy with the 8,phiz0 plate is to be found in the ,forster ,library1 ,south ,kensington4 ,then1 again1 we have ,dickens's ,pictures from ,italy1 published by ,messrs4 ,bradbury and ,evans in #ahdf1 with the beautiful 8vignette illustrations on the wood10 by that master engraver1 ,samuel ,palmer4 ,for some reason or other that representing 8,the ,street of the ,tombs1 ,pompeii10 on the title-page1 disappears after the exhaustion of the first and second editions1 both published in the same year4 ,it reappears1 however1 in the late #eg reprint of #ahhh1 and is also only here alluded to because sometimes referred to as 8suppressed40 ,illustration3 ,the suppressed plate from 8,sketches by ,boz0 ,the last of the ,dickens illustrations germane to our subject is that much-desired etching of 8,the ,free and ,easy10 which should be found opposite page #bi of the 8second series0 of ,sketches by ,boz4 ,both the first and second series were originally published in #ahcf4 ,in #ahci another edition appeared with all the etchings to the original edition enlarged 7except 8,the ,free and ,easy10 which was cancelled71 and with thirteen additional plates4 ,an edition on the lines of the first issue of the second series1 only with the illustrations in lithography1 was published in ,calcutta in #ahcg4 ,it is important1 in collating the first editions of the ,sketches1 to bear in mind the fact that the first series was in two volumes and the second in one4 ,otherwise it is impossible to understand why 8,vol4 ,,iii40 is engraved on each of the plates in the second series4 ,as showing how eagerly these volumes in fine condition1 and of course uncut and in the original cloth binding1 are sought after1 it may be mentioned that thirty pounds is by no means an unheard-of price4 #eh ,unfortunately the plates will in most cases be found to be badly foxed4 ,the tissue of the paper itself has in many cases been attacked by damp and rotted right through4 ,in such cases any remedy except the drastic one of punching is of course out of the question4 ,hence the rarity of a really 8desirable0 set of the plates1--a rarity which is largely due to the hoarding away of books in glass cases2 for books require fresh1 dry air1 with the rest of ,god's creatures4 ,it may not be out of place here1 whilst on the subject of foxing1 to warn the collector that every plate in a book should be carefully examined before any extravagant price is given for what is called a fine copy4 ,no doubt we are much indebted to the clever 8doctors0 of prints who punch the fatal spots out and pulp them in1 who fill up the worm-holes and vamp up the cleaned prints with green-wood smoke and coffee infusions to a respectable appearance of age4 ,at the same time we must never allow ourselves to forget that there are such occupations as vamping and 8improving10 and that it is not for vamped and improved copies that we should pay excessive prices4 #ei ,,chapter ,v ,,on ,,some ,,further ,,suppressed ,,plates1 ,,etchings1 ,,and ,,wood ,,engravings ,,by ,,george ,,cruikshank ,in ,chapter ,,iii4 we have incidentally considered the suppressed grotesque border to the etching of 8,the ,last ,song0 by ,george ,cruikshank in the ,memoirs of ,joseph ,grimaldi4 ,in this chapter we shall treat of certain other suppressions to which the 8inimitable0 ,george's work was subjected4 ,the first to which ,i shall direct your attention has a curious and romantic history attaching to it1 instinct with the rough and brutal methods of our immediate ancestors4 ,it is a highly-coloured etched broadside published in #ahae1 the very year of the tragic death of the gifted and ill-fated ,gillray1 whose mantle1 as political caricaturist1 was now fallen upon his brilliant young contemporary4 #fj ,these were the days of hard hitting1 of reckless charges1 of imprisonment for libel1 of dramatic political episodes1 and the wonder is that ,george ,cruikshank escaped the fates of the ,burdetts1 the ,hones1 and the ,hobhouses of the period4 ,the fact is that ,george was a very shrewd young man and had a very shrewd idea of how far it was safe to go4 ,indeed1 in this partially suppressed cartoon we find him upon the very verge of recklessness and only drawing back from danger just in the nick of time4 ,i have spoken of the partial suppression of this broadside1 and in this partial cancellation it is differentiated from all others with which we have hitherto dealt4 ,brutal enough as is the satire as we see it1 there is a brutality curiously hidden within1 which1 unsuspected by the uninitiated1 proves to what astounding lengths satire of that period was sometimes ready to go4 ,before dealing in detail with this 8,financial ,survey of ,cumberland or the ,beggar's ,petition0 it will be as well to relate the circumstances which led up to its perpetration4 ,ernest ,augustus1 ,duke of ,cumberland1 born #fa #agga1 was perhaps the best hated of all the royal personages of the period then in ,england1 and this notwithstanding the fact that he was a man of conspicuous bravery4 ,he was1 for a few years after ,queen ,victoria's accession1 next heir to the throne of ,england4 ,later he ascended the throne of ,hanover under the regulations of the ,salic law1 and gained the affection of his people1 proving himself a wise and beneficent ruler4 ,probably ,william ,,iv4 put his character into a nutshell when he said3 8,ernest is not such a bad fellow1 but if any one has a corn he is sure to tread on it40 ,however that may be1 there is no doubt that there is hardly a crime in the whole decalogue which was not at one time or another laid at his door1 and not the least among these was the crime of murder4 ,to quote the succinct account of this affair given in the ,dictionary of ,national ,biography3--8,on the night of #cast ,may #ahaj the duke was found in his apartments in ,st4 ,james's ,palace with a terrible wound in his head1 which would have been mortal had not the assassin's weapon struck against the duke's sword4 ,shortly afterwards his #fb valet1 ,sellis1#ag was found dead in his bed with his throat cut4 ,on hearing the evidence of the surgeons and other witnesses1 the coroner's jury returned a verdict that ,sellis had committed suicide after attempting to assassinate the duke4 ,the absence of any reasonable motive444 caused this event to be greatly discussed1 and democratic journalists did not hesitate to hint that he really murdered ,sellis40 ,one of these1 ,henry ,white1 was sentenced in #ahae to fifteen months' imprisonment and a fine of #bjj for publishing the rumour4 ,the story again cropped up in #ahcb1 when the duke had made himself particularly obnoxious to the radical press1 and was exploited by a pamphleteer named ,phillips4 ,the duke prosecuted him1 and he was promptly found guilty and sentenced to six months' imprisonment4 #ag ,not ,serres1 as ,reid has it in his descriptive account of ,cruikshank's works4 ,the keeper of the prints evidently confused the name of the valet with that of ,mrs4 ,olive ,serres1 who later on called herself ,princess ,olive of ,cumberland1 and claimed to be the duke's legitimate daughter4 ,notwithstanding this1 there was little abatement in the persecution of the duke4 ,even ,lord ,brougham in the ,house of ,lords sneeringly called #fc him to his face 8the illustrious duke--illustrious only by courtesy40 ,i take up a few consecutive numbers of that venomous little contemporary paper1 ,figaro in ,london1 and find week by week some very plain speaking4 ,here are a few examples3-- 8,that he's ne'er known to change his mind ,is surely nothing strange2 ,for no one ever yet could find ,he'd any mind to change40 ,again3-- 8,he boasts about the truth1 ,i've heard1 ,and vows he'd never break it2 ,why zounds a man must keep his word ,when nobody will take it40 ,again1 referring to a youth dressed la ,prince de ,cumberland1 who had been brought up at ,bow ,street charged with being an expert pickpocket1 ,figaro says3 8,a similarity to the ,duke of ,cumberland is a very serious matter1 and in the opinion of ,mr4 ,halls 7the police magistrate7 quite sufficient to entitle any one to a couple of months' imprisonment1 as a common thief or an incorrigible vagabond40 ,again3--#fd 8,,inquest ,,extraordinary ,found dead of fright1 a child1 7how sad a case67 ,verdict--,saw ,cumberland's mustachioed face40 ,again3--8,the new piece announced at ,drury ,lane under the title of ,the ,dmon ,duke or ,the ,mystic ,branch has no reference whatever to his ,royal ,highness of ,cumberland40 ,but these might be multiplied almost to infinity4 ,the examples quoted make it sufficiently plain why it was that the ,whig ,cabinet of the day felt it advisable to hurry on our late ,queen's marriage4 ,so much for a general review of the duke's career4 ,we will now return to the year #ahae and the publication of the broadside with which we are more particularly concerned4 ,the duke had just announced his intention of marrying the ,princess of ,salm1 who had been twice a widow4 ,the ,prince ,regent had raised no objection1 but the ,queen1 who had a rooted aversion to second marriages1 made no secret of her disapproval4 ,the country1 too1 was indignant1 because another royal marriage spelt1 in accordance with what was now the ordinary usage1 a further burden upon the exchequer4 ,illustration3 8,a ,financial ,survey of ,cumberland or the ,beggars ,petition40 7,from the only known uncoloured impression of the ,plate7 ,illustration3 8,a ,financial ,survey of ,cumberland or the ,beggars ,petition40 7,from a coloured impression of the plate1 with the figure of the valet obliterated with lamp-black7 #fe ,on ,july #c the proposal was made in the ,commons to increase the duke's pension of #ah1jjj a year1 which he held in addition to his salary of #cjjj a year as ,colonel of the #ast ,hussars1 by #fjjj4 ,the ,house was equally divided on the vote1 when a dramatic incident occurred4 ,lord ,cochrane1 heir to the ,dundonald peerage1 and a member of the ,house of ,commons1 had1 in the previous year1 been wrongfully found guilty of participation in a ,stock ,exchange fraud and had been imprisoned4 ,on this very #crd day of ,july he was released from prison1 and immediately repaired to ,westminster4 ,the ,house was at that moment going to a division4 ,his lordship entered just in time to record his casting vote against the increase of the duke's pension1 and thus by an extraordinary coincidence the duke was the poorer and the country the richer by #fjjj a year4 ,this is the moment seized by ,cruikshank in the broadside here reproduced4 ,before the half-open door of 8,st4 ,stephen's10 behind which is seen a crowd of members1 ,lord ,cochrane fires1 from a mortar decorated with a full-bottomed wig1 a #ff cannon-ball labelled 8casting vote40 ,this1 striking the duke full in the rear1 drives him towards a bank on which stand three grenadiers1 the ,princess of ,salm 7recognisable by the flag which she carries1 labelled 8,psalms07 and her little boy1 who sings-- ,my daddy is a grenadier ,and he's pleas'd my ,mammy ,o1 ,with his long swoard and broadswoard ,and his bayonet so handy ,o4 ,the duke1 from whose hand falls his petition1 and whose head is adorned with a cuckold's horns1 cries aloud1 8,pity the sorrow of a poor young man02 whilst ,cochrane thunders out1 8,no1 no1 we'll have no petitions here4 ,do you thint 7sic7 we are not up to your hoaxing1 cadging tricks8 ,you vagrant1 do you think we'll believe all you say or swear8 ,do you think that your services or your merits will do you any good here8 ,if you do1 ,i can tell you from experience that you are cursedly mistaken4 ,so set off and don't show your ugly face here again4 ,if you do1 shiver my timbers if ,i don't send you to ,ellenborough ,castle3 aye1 aye1 my boy1 ,i'll clap you in the grated chamber1 where there's neither door1 window1 #fg onr 7sic7 fireplace4 ,i'll put you in the ,stocks6 ,i'll put you in the ,pillory6 ,i'll fine you4 ,i'll1 ,i'll play hell with you6 ,d---- me1 ,i think ,i have just come in time to give you a shot between wind and water40 ,on the ground below the flying duke lie documents recording his pensions and salaries4 ,no wonder1 you will say1 that such a scandalous attack upon a personage so near the throne should be suppressed with a high hand4 ,the marvel is that artist and publisher should have escaped the fate of ,henry ,white and the pamphleteer ,phillips4 ,but you will be more surprised than ever when you learn that not only did artist and publisher go scot-free1 but that the plate1 so far from being suppressed1 was published and scattered broadcast amongst the people without protest4 ,why1 then1 it will be asked1 does it take its place in a treatise on suppressed plates8 ,i will tell you4 ,do you not notice in the darker impression of the plate here reproduced--darker because the original has been painted--that such perspective as the picture has is destroyed by a great black blot #fh which reaches from the feet of the three soldiers right down to the path in the right-hand lower corner of the design8 ,well1 that great black blot covers what would have inevitably landed ,george ,cruikshank and ,mr4 ,w4 ,n4 ,jones of #e ,newgate ,street1 publisher1 in a larger building higher up the same street1 if it had not been for a happy afterthought of ,mr4 ,w4 ,n4 ,jones1 which took shape in a liberal use of lamp-black4#ah ,on the space so covered the reckless ,george1 unmindful of the fate of ,henry ,white1 had etched the scantily clothed figure of the unhappy valet ,sellis1 with bleeding throat1 crying aloud1 8,is this a razor that ,i see before me8 ,thou canst not say ,i did it40 #ah ,this use of lamp-black has its parallel in the case of one of the tailpieces to ,bewick's ,birds1 in the first edition of which an apprentice was employed to veil certain indelicacies with a coat of ink4 ,unfortunately1 from want of density1 the colouring rather serves to accentuate than hide the offending details4 ,in the next edition a plug was inserted in the block and two bars of wood engraved in the interests of decency4 ,after but one or two proofs had been pulled1 ,george and his publisher would seem to have become appalled at their temerity1 and the plate was only issued coloured and with the peccant #fi figure blotted out4 ,for many years ,i hoped and hoped in vain to come across an uncoloured proof displaying the hidden figure4 ,but it was not until #aije that ,i was fortunate enough to light upon the probably unique proof here reproduced1 which had passed out of the ,bruton collection into that of the omnivorous collector1 the late ,edwin ,truman4 ,for the sake of those who have preserved the valuable catalogue of the sale in #ahig of the ,bruton collection of the works of ,george ,cruikshank1 it should be observed that ,reid's misnomer of the valet to which ,i have drawn attention above has been there repeated4 ,so much1 then1 for the partially suppressed broadside of #ahae1 which incidentally may be looked upon as the forerunner of the blottesque censorship of ,russian newspapers4 ,we will now pass on to another broadside which was not only suppressed in full1 but of which the copies that had already been sold were assiduously bought up4 ,the circumstances surrounding this plate are by no means so dramatic as those with which we have last dealt4 ,at the same time1 by means of it we obtain one of those sharp contrasts in political #gj moods and tenses which pleasurably tickle the imagination4 ,we learn how little is absolute in life1 how much is relative4 ,we realise how the reactionary of to-day may have been the reformer of yesterday4 ,in a word1 we see in this most conservative member of the ,russell administration of #ahdf-aheb and of the ,coalition of #ahec1 in this complacent recipient of the peerage of ,broughton de ,gyfford and the ,grand ,cross of the ,bath1 in this happy husband of a ,marquis's daughter1--we see1 ,i say1 in this ,tory nobleman of the 'fifties the irreconcilable ,john ,cam ,hobhouse of the early years of the century1 committed to ,newgate for breach of privilege1 the author of the subversive ,letters to an ,englishman1 and the representative for ,parliament of the ,westminster mobocracy4 ,illustration3 8,a ,trifling ,mistake0----,corrected---- ,in ,cruikshank's broadside here reproduced the future ,president of the ,board of ,control is represented twirling his thumbs in enforced retirement and with full leisure to repent of his indiscretions4 ,above the mantelpiece representations of ,st4 ,stephen's and ,newgate are placed in sharp contrast4 ,below the last a former occupant of the #gb cell has scratched a rude gibbet4 ,the grate is empty4 ,on the table stand an empty pewter pot and pipe4 ,on the wall is seen a long quotation from his anonymous pamphlet ,a ,trifling ,mistake1 for which he has been committed to prison4 ,this1 with a barbed addition1 gives the title to the broadside itself4 ,the quotation runs3-- 8,what prevents ye people from walking down to ye house and pulling out ye members by ye ears1 locking up their doors and flinging ye key into ye ,thames8 ,is it any majesty which lodges in the members of that assembly8 ,do we love them8 ,not at all3 we have an instinctive horror and disgust at the very abstract idea of ye boroughmonger4 ,do we respect them8 ,not in the least4 ,do we regard them as endowed with any superior qualities8 ,on the contrary1 there is scarcely a poorer creature than your mere member of ,parliament2 though1 in his corporate capacity1 ye earth furnishes not so absolute a bully4 ,their true practical protectors1 then--the real efficient anti-reformers1--are to be found at ye ,horse ,guards and ye ,knightsbridge ,barracks4 ,as long as the ,house of ,commons majorities are backed by the regimental muster roll1 so long may those who have got the tax power keep it and hang those who resist0666 666 666 ,vide ,trifling ,mistake4 ,below this hangs a bill headed 8,little ,hob in the ,well40 #gc ,the reproduction of the etching here given is from a very interesting touched proof in the ,british ,museum4 ,upon it the artist's work in pencil can be plainly traced4 ,to the right of the picture of ,newgate another roughly drawn gibbet can be distinguished4 ,on the bill the words have been added1 8,a ,new ,song in ,defence of the ,people1 corrected10 etc4 ,the profile of the prisoner has been carefully reduced1 and a punning sub-title to the whole added1 8,how ,cam you to be in that ,hobble80 ,the date on the margin is ,january #a1 #ahai 7obviously a mistake for #ahbj71 and its publication1 no doubt1 went some way towards ,hobhouse's election as member for ,westminster1 which took place immediately after his release on the #bjth day of the month in the year #ahbj4 ,after his elevation to the peerage ,hobhouse took no active part in public affairs4 ,he died as lately as #ahfi1 leaving no issue4 ,probably the plate was suppressed on the ground that it contained the long quotation given above from the lawless pamphlet for which he was imprisoned4 ,as ,i have said in an earlier chapter1 it is not my #gd intention to make this treatise in any way a devil's directory for those in search of salacious curiosities4 ,i shall therefore not dwell upon the suppressed woodcut1 which is rather coarse than loose1 of 8,the ,dead ,rider0 in the ,italian ,tales of #ahbc4 ,i merely mention it for the sake of those who may be collating the book1 and would find themselves misled by ,reid's note on the subject4 ,he speaks of the 8,elopement0 woodcut being 8wanting in two or three copies consulted of the first edition10 as though this were a matter for surprise4 ,he fails to draw the very obvious conclusion that 8,the ,elopement0 was substituted for 8,the ,dead ,rider10 so that the number of illustrations might continue to tally with the announcement on the title-page1 8,sixteen illustrative drawings by ,george ,cruikshank40 ,he has apparently been confused by the fact1 which ,i notice confuses a good many secondhand booksellers1 that every copy has a woodcut entitled 8,the ,dead ,rider10 but that it is only the first issue that has two woodcuts with the same title4 ,and1 whilst touching on the subject of ,cruikshank's early indiscretions1 it will1 ,i think1 be only #ge fair to repeat a story of pretty and spontaneous atonement which ,i have told elsewhere1 and which deals with another suppressed broadside4 ,no4 #hhg in ,reid's catalogue is 8,accidents in ,high ,life1 or ,royal ,hobbys broke down1 ,dedicated to the ,society for the ,suppression of ,vice40 ,its companion picture is 8,royal ,hobbys of the ,hertfordshire ,cock ,horse10 which was suppressed as being too suggestive even for so latitudinarian an age as that of the ,regency4 ,in the former the artist portrays the discomfiture of the ,prince and the ,marchioness of ,hertford through the pole of the hobby-horse1 upon which they have been riding1 breaking and throwing both of them to the ground4 ,the lady is cursing her folly in trusting herself to 8such an old stick10 while her admirer is exclaiming that he shall try the ,richmond ,road in the future1 the ,hertford one being so unsatisfactory4 ,the ,duke of ,york is suffering from a similar disaster1 and congratulating himself upon the softness of the cushion by which his fall has been broken1 in allusion to his income of #aj1jjj for having charge of his father4 ,now ,mr4 ,bruton1 who1 like the late ,mr4 ,truman1 #gf had the advantage of ,george ,cruikshank's friendship in later years1 was able to obtain authentication or repudiation of doubtful unsigned work from the artist himself1 and1 amongst others1 this plate was submitted to him for judgment4 ,the man's honesty forced him to acknowledge himself to be the author of this piece of full-blooded vulgarity1 but his regret has altered the usual laconic record of 8,not by me1 ,g4 ,ck410 or 8,by my brother1 ,i4 ,r4 ,c410 pencilled on the plate1 to 8,sorry to say this is by me1 ,g4 ,c40 ,the old man was1 when he came to look back upon a long life of good and evil mixed1 somewhat more human than that terribly pious hero of ,pope's-- ,who calmly looked on either life1 and here ,saw nothing to regret1 or there to bear2 ,from nature's temp'rate feast rose satisfy'd1 ,thank'd heav'n that he had liv'd1 and that he dy'd4 ,he looked back with genuine remorse upon youthful extravagances1 and1 though doubtless inclined by nature to be something of a poseur1 and though he attitudinised somewhat too much over his virtuous fads at last1 was not going to bolster up his reputation by an easy forgetfulness of early indiscretions4 #gg ,illustration3 ,philoprogenitiveness ,only a few words need be said of the other ,cruikshank suppressions here reproduced4 ,the first is the well-known plate 8,philoprogenitiveness10 which was published in the earliest separate edition of that noble ,essay on the ,genius of ,george ,cruikshank1 written by ,thackeray for1 and reprinted #gh from1 ,the ,westminster ,review in #ahdj4 ,and surely it was a prurient and unnatural squeamishness which condemned this illustration to exclusion in the subsequent editions4 ,it is from the ,phrenological ,illustrations1 published in #ahbf1 one of the most famous of ,cruikshank's publications4 ,i shall follow ,thackeray's excellent example of refraining from any description1 and just leave the design to speak for itself1 for it is a ridiculous task 8to translate his designs into words1 and go to the printer's box for a description of all that fun and humour which the artist can produce by a few skilful turns of his needle40 ,the second is the cancelled wood engraving entitled 8,drop it10 which appears on page #ah of the first edition of ,talpa2 or the ,chronicle of a ,clay ,farm1 an ,agricultural ,fragment1 by ,c4 ,m4 ,h7oskyns71 published in #ahec4 ,for some unknown reason it disappears from subsequent editions1 and is only of importance to those who pride themselves on being the possessors of ,cruikshank editiones principes4 ,illustration3 8,drop it60 ,there is another ,cruikshank suppression which might1 were we hard up for material1 be dragged #gi into a treatise on suppressed illustrations4 ,i refer to a wood engraving of the redoubtable ,george himself taking his publisher1 ,brooks1 by the nose with a pair of tongs1 which resulted in the suppression of the pamphlet entitled ,a ,pop-gun fired off by ,george ,cruikshank1 etc41 in which it appeared4 ,but if we were to open these pages to the consideration of suppressed books and pamphlets1 ,i should soon find my publishers remonstrating1 and the volume too big to handle4 ,further1 it affords me the gratifying opportunity of referring the reader to a small book of mine1 published in #ahig1 by ,mr4 ,w4 ,p4 ,spencer1 of #bg ,new ,oxford ,street1 and entitled ,george #hj ,cruikshank's ,portraits of ,himself which ,i1 as the author1 of course consider has not attained the circulation it deserves4 ,there will be found a full account of the suppressed pamphlet1 together with a reproduction of the offending design4 ,let me close this chapter with 8,a ,cruikshank ,outrage10 which ,i originally contributed to ,the ,gentleman's ,magazine4 ,it is1 ,i think1 sufficiently apropos1 and will1 ,i hope1 appeal to all good ,cruikshankians4 ,this is the bookcase1 this the key2 ,none may open this lock but me2 ,and only those of the cult may come ,into my sanctum sanc-to-rum4 ,swear 8by ,george0 on his 8,omnibus0 ,you are assuredly one of us4 ,swear 8by ,george0 on his 8,almanack0 ,you will return each volume back4 ,swear by 8,grimm0 in the earliest state ,theft and pillage you reprobate4 ,yes1 that's bound by ,rivire1 but ,here's the original cloth1 uncut4 ,the 8,bee and the ,wasp0 on ,india1 tilt1 ,zaehnsdorf binder1 morocco1 gilt4 ,but all my 8,scourges0 plain bound shall bide-- ,plenty of 8guilt0 may be found inside4 #ha ,here's my 8,omnibus10 worth a fief ,because ,i've the unpaged preface-leaf4 8,london ,characters10 set complete1 ,sm4 #hvo1 in hlf4 clf4 neat4 ,here a set of gigantic frauds ,in the original ,,labelled boards4 8,oliver ,twist10 as you will have guessed1 ,the 8,rose and ,oliver0 plate suppressed3 ,not with the stippling over-writ-- ,only ,bruton#ai can show you ,,it4 ,and here 8,the ,bottle0 ,,coloured1 date ,eighteen-hundred-and-forty-eight4 ,yes1 no doubt1 'twas among the first ,thrusts that the ,master launched at ,thirst4 6 ,george1 you say1 was at best1 you think1 ,as a ,temperance man denouncing drink 6 66 ,you dare tell me you interlope ,in quest of books for your 8,band of ,hope0 66 666 ,you swore 8by ,george0 on his 8,omnibus0 ,you were assuredly one of us 666 6666 ,avaunt1 ,i prithee1 aroynt1 vacate ,this orthodox shrine to ,george the ,great 6666 ,for only those of the cult may come ,into my sanctum sanc-to-rum4 #ai ,since the ,bruton sale in #ahig this1 alas1 is no longer true4 #hb ,,chapter ,,vi ,,hogarth',s 8,,enthusiasm ,,delineated10 8,,the ,,man ,,of ,,taste10 ,,and 8,,don ,,quixote0 ,in ,mr4 ,austin ,dobson's ,hogarth1 to which all students of that master are so deeply indebted1 the following sentence concludes the list of 8,prints of an ,uncertain ,date03 8,it has been thought unnecessary to include two or three designs1 the grossness of which neither the ingenuity of the artist nor the coarse taste of his time can reasonably be held to excuse40 ,and in this book ,i have made it a cardinal point to emulate ,mr4 ,dobson's excellent example4 ,we remember in one of ,mr4 ,g4 ,russell's amusing books the story of the erstwhile ,member of ,parliament who had accepted a peerage1 notwithstanding his profession of democratic sentiments4 ,thereupon one of his late supporters1 #hc with excellent1 though somewhat brutal1 metaphor1 remarked1 8,mr4 ---- says as how he's going to the ,house of ,lords to leaven it4 ,i tell you he can't no more leaven the ,house of ,lords than you can sweeten a cart-load of muck with a pot of marmalade40 ,per contra1 let us always bear in mind1 that were the cart full of marmalade1 and the pot of muck1 the latter would be fully sufficient to render the whole an abomination4 ,fortunately for us1 the ,hogarth 8,suppressed ,plates0 which are befitting are of exceptional interest4 ,and it may as well be pointed out here that those peculiarly gross ones which are often alluringly alluded to as 8suppressed0 are nothing of the sort4 ,so far from being indeed effectively withdrawn from observation1 they have had1 as a matter of fact1 particular attention drawn to them by the fussy ingenuity with which their concealment has been emphasised4 ,the first of the ,hogarth plates which we here reproduce--8,enthusiasm ,delineated0--is of far greater intrinsic importance than any of those with which we have already dealt in the preceding chapters4 ,it differs essentially from them not #hd only in the fact that here the artist himself is the fount and origin of the suppression but also in the fact that it is a fine example of those palimpsest plates of which more particular description will be found in later chapters of this book4 ,peculiar interest1 too1 attaches to the circumstance that1 superb as it was in execution1 and elaborate to a degree though it was in conception1 it was no sooner finished than the artist deliberately decided against its publication1 and destroyed the engraving after only two impressions had been taken from the copper4 ,fortunately for us1 one of these is now in the possession of the ,british ,museum4 ,it will be interesting to those who are the happy possessors of ,hogarth ,illustrated and the ,anecdotes to compare this with the reduced copy 7a very different matter7 made by ,mills and published in these volumes4 ,for it must always be remembered that ,hogarth's autograph engravings are infinitely more interesting than the copies1 however eminent the journeyman engraver may have been4 ,illustration3 ,enlarged detail of ,hogarth's 8,enthusiasm ,delineated0 ,another plate was engraved by ,mills of the size of the original1 and published separately by ,ireland #hf in #agie4 ,the date of the original plate is given in the ,british ,museum ,catalogue as #agci1 but how that date is arrived at ,i am at a loss to understand4 ,it will be noticed that there are upon the margin of our reproduction some curious remarques inscribed 8the windmill10 8the scales10 and others4 ,these were drawn in pen-and-ink by ,hogarth on the margins of the two original impressions4 ,they also appear engraved in facsimile on the second state of ,mills's full-sized plate4 ,it will therefore be well for owners of this last not to jump to the hasty conclusion that they are the fortunate possessors of one of the two impressions mentioned above6 ,it should be added that the ,,ms4 inscription on the ,british ,museum copy differs considerably from that engraved by ,mills4 ,the method by which the suppression of this plate came about is exceedingly curious4 ,it is probable that1 after the design was completed1 ,hogarth came to the conclusion that the intention of the satire might be mistaken1 and that1 instead of bringing ridicule upon 8the superstitious absurdities of popery and ridiculous #hg personification delineated by ancient painters10 it might be considered that his objective was religion itself4 ,if this were so1 the episode redounds greatly to the artist's credit1 and throws an effective light upon a little-known side of his character4 ,it was an act of great nobleness to suppress what was the result of long toil1 nay1 more than that1 what was perhaps his highest mental1 though by no means his highest artistic1 achievement1 from what some might consider hyper-conscientious motives4 ,it must be remembered that ,hogarth lived in a gross and irreligious age1 and that what appears to us exceedingly profane was largely the result of the outspokenness of the times4 ,ireland says that he altered and altered this plate piecemeal until its final suppression4 ,this1 however1 ,i venture to doubt1 for reasons given below4 ,at all events1 in the end he had beaten out and re-engraved every figure save one1 and changed1 as ,mr4 ,dobson says1 what 8was a compact satire0 into 8a desultory work--a work of genius for a lesser man1 but scarcely worthy of ,hogarth40 ,the final design was entitled #hh 8,credulity1 ,superstition and ,fanaticism3 a ,medley10 and was published in ,march #agfb4 ,let us now compare the two designs4 ,hogarth's general purpose in the first was1 in his own words1 to give 8a lineal representation of the strange effects of literal and low conceptions of ,sacred ,beings1 as also of the idolatrous tendency of ,pictures in ,churches and ,prints in ,religious ,books40 ,in the second his text was1 8,believe not every spirit1 but try the spirits whether they are of ,god1 because many false ,prophets are gone out into the world40 ,before comparing the designs in detail1 ,i should like to say that1 besides carefully examining the plates for myself1 ,i have collated the various descriptions of ,ireland1 ,nichols1 ,mr4 ,austin ,dobson1 and ,mr4 ,f4 ,g4 ,stephens1 whose conclusions ,i have not hesitated to adopt1 add to1 discard or modify1 as the circumstances have seemed to require4 ,let us now particularise the incidents portrayed on the two states of the plate1 both of which are here reproduced for purposes of comparison4 ,illustration3 ,,plate ,i4 8,enthusiasm ,delineated4 7,humbly dedicated to his ,grace the ,arch ,bishop of ,canterbury by his ,graces most obedient humble ,servant ,wm4 ,hogarth07 ,illustration3 ,,plate ,,ii4 8,credulity1 ,superstition1 and ,fanaticism4 ,a ,medley0 ,beginning with the preacher1 we notice that #hi his is the only figure practically unaltered and common to both engravings4 ,by his 8bull-roar0 7vide the 8scale of ,vociferation0 hanging on the wall to his left7 he has apparently succeeded in cracking the sounding-board above his head4 ,notice his shaven crown1 exposed by the fallen wig1 which intimates that he is a ,papist in disguise2 and the harlequin jacket underneath his gown1 which suggests that he is a religious merry-andrew4 ,a point worth remarking is that the halo surrounds his wig1 and not his head6 ,from his right hand 7,plate ,i47 he suspends a puppet 7caricatured from a picture of ,raphael's7 supporting the sacred triangle1 which1 in attempting to personify the ,trinity1 was considered by some to be a profane materialisation of a mystical idea4 ,this he has ingeniously turned into a gridiron or trivet of the ,inquisition by the simple addition of three legs4 ,in ,plate ,,ii4 this puppet has been removed and its place taken by a witch1 riding on a broom-handle1 who is suckling what appears to be a huge rat4 ,beyond the preacher's hand we find a further addition in the shape of a cherub1 hunting-cap on head1 bearing in its mouth #ij a letter directed 8,to ,st4 ,moneytrap40 ,the sermon paper1 too1 has been turned about so as to bring the words 8,i speak as a fool0 into greater prominence4 ,in which connection it may be noticed that in 8,enthusiasm ,delineated0 all the lettering would seem to be from the burin of ,hogarth1 whilst that in the 8,medley0 has been put in by a writing engraver1 with considerable weakening of the general effect4 ,dangling from the preacher's left hand is a devil with a gridiron 7after ,rubens71 practically identical in both plates1 though obviously re-engraved4 ,further puppets hang ready for use on the panels of the pulpit4 ,in ,plate ,i4 they are caricature representations1 from pictures of the ,old ,masters1 of ,adam and ,eve 7suggested by ,albert ,drer71 of ,peter with his ,key1 and ,paul in a black periwig armed with two swords and elevated by high-heeled shoes 7travestied from ,rembrandt71 and of ,moses and ,aaron4 ,in ,plate ,,ii4 these scriptural puppets are exchanged for the superstitious images of ,mrs4 ,veal's ghost 7see the writing on the book71 who1 according to ,defoe1 appeared the day after her death to ,mrs4 ,bargrave #ia of ,canterbury1 ,september #h1 #agje2 of ,julius ,csar's apparition1 starting at its own appearance in the looking-glass2 and of that of ,sir ,george ,villers 7sic71 not 8,villiers0 as ,ireland has it1 whose appearance to an officer at ,windsor1 charging him to warn his son1 the ,duke of ,buckingham1 of his approaching assassination1 is recorded by ,lord ,clarendon and ,lilly the astrologer4 ,in the foreground1 on the right1 we have in both plates a most remarkable mental thermometer1 the bulb of which is inserted in a ,methodist's brain4 ,in ,plate ,i4 the mercury stands at 8low-spirits02 in ,plate ,,ii4 at 8lukewarm40 ,in the first a dove surmounts the whole2 in the second the ,methodist's brain rests upon 8,wesley's ,sermons10 and 8,glanvid0 7an evident misprint for 8,glanvil07 on 8,witches40 ,the lettering1 too1 is altered1 and1 in place of the inscription in the top division1 is a picture of the ,cock ,lane ,ghost1 of which ,walpole wrote--8,elizabeth ,canning and the ,rabbit ,women were modest impostors in comparison of this40 ,the whole is surmounted by a figure of the ,tedworth drummer immortalised by ,addison4 #ib ,in the adjoining pew a nobleman1 as can be seen by the decoration half concealed by his coat1 makes love to a girl1 who discards a heavenly for a very earthly affection1 point to which is given by the quotation from ,whitfield's hymn which can be read on the paper hanging over the adjacent clerk's desk4 ,the 8mixed expression of religious hypocrisy and amorous desire0 on the girl's face is marvellously expressed4 ,the other occupant of the pew is a repentant thief1 as may be seen from the 8,t0 branded on his cheek4 ,in the first account of the plate given in the ,catalogue of ,prints and ,drawings in the ,british ,museum1 the suggestion that the felon sniffs at a bottle of spirits held in the hands of the image is obviously incorrect4 ,he is dropping his tears into the bottle4 ,in ,plate ,,ii4 a less aristocratic and somewhat more decently behaved pair of lovers occupy the pew4 ,the puppet held by the man is clearly a repetition of the ,cock ,lane ,ghost1 only bearing in its hand a lighted candle in place of a hammer4 ,what the meaning of this is ,i fail to understand4 ,of the two other occupants of the pew one is weeping and the other asleep4 #ic ,a winged devil whispers evil thoughts into the sleeper's ear4 ,in both plates1 on a bracket attached to the side of the pew and inscribed 8,the ,poor's ,box10 rests a wire rat-trap in place of the proper receptacle4 ,turning now to the clerk's desk1 which in ,plate ,i4 has the inscription 8,cherubim and ,seraph -- do cry10 and in ,plate ,,ii4 8,continually do cry10 we find a hideous and brutal-looking clerk singing lustily from a book which he half supports in his claw-like fingers4 ,supporting him are two winged cherubs1 the ridiculous nothingness of whose bodies 7so envied by ,thackeray in his days of pupilage7 is accentuated by the significant addition of ducks' feet4 ,their pitiful faces accord with the punning inscription on the edge of the desk4 ,in ,plate ,,ii4 the ducks' feet have been removed1 but to make up for the loss we have the clerk himself1 now a lean and hungry-looking individual1 also decorated with a pair of wings4 ,below the desk in ,plate ,i4 howls a dog1 his collar engraved with ,whitfield's name1 whilst1 below the hassock on which he sits1 a ragged #id figure squats embracing an image4 ,in ,plate ,,ii4 a book entitled ,demonology1 by ,k4 ,james ,ist41 surmounted by a shoeblack's basket in which ,whitfield's ,journal is stuck1 takes the place of the dog1 whilst the boy of ,bilston1 vomiting forth nails1 displaces the ragged figure4 ,from the neck of the bottle in his hand a figure1 similar to that held by the man in the pew1 rises expelling the cork1 which falls to the ground4 ,in the forefront of ,plate ,i4 lies the bloated figure of ,mother ,douglas1 who1 after a most licentious life1 was said to have become a rigid devotee4 ,hogarth1 who has portrayed her in other of his plates1 here ridicules her conversion4 ,a hand belonging to a figure outside the plate holds a bottle of salts to her nose4 ,in ,plate ,,ii4 ,mary ,tofts1 8ye ,godliman woman10 takes her place4 ,her well-known imposture1 which it would be out of place to particularise here1 gave rise to a voluminous literature1 and a sheaf of remarkable caricatures4 ,in place of the salts a glass of cordial is applied as a restorative4 ,illustration3 ,the ,chandelier in 8,enthusiasm0 ,illustration3 ,the ,chandelier in 8,credulity0 ,in ,plate ,i41 behind the prostrate woman a bearded ,jew regards the preacher with mock #if devotion1 what time he kills a flea between his thumb-nails4 ,before him lies a book open at a picture of ,abraham offering up ,isaac4 ,in ,plate ,,ii4 the figure of the ,jew is much weakened1 whilst a knife inscribed 8,bloody0 is laid across a picture of an altar on the page of the open book4 ,in the background of both plates a motley collection of devotees assists at these religious orgies4 ,to the extreme left of ,plate ,,ii41 which1 by the addition of several persons in the congregation1 has become greatly overcrowded1 a minister directs the attention of a terrified wretch1 whose hair bristles with fear1 to the extraordinary double-globed chandelier above their heads4 ,final emphasis is given to the whole satire by the figure of a ,turk 7slightly varied in the two plates71 who regards with amusement through the window the idolatry of those 8dogs of ,christians40 ,so much for the details of the plates4 ,as regards the general effect of the whole1 the superiority of the suppressed design will be evident at a glance4 ,in lighting1 balance1 and composition1 the substituted design is immeasurably removed from the original4 ,nor would this be wonderful if1 #ig as ,ireland surmised1 8the alterations were made by degrees40 ,with this view1 however1 ,i find it1 as ,i have said above1 impossible to concur4 ,if1 as he suggests1 the figures were beaten out one by one1 their substitutes would occupy practically identical spaces on the plate2 but a little measurement demonstrates the fact that1 with the exception of the figure of the preacher1 which has been left where it was1 and of the mental thermometer1 which has been raised1 almost the whole of the design has been shifted downwards4 ,i am therefore inclined to think that from the first ,hogarth1 from one cause or another1 made up his mind to change the direction of his satire1 and at once beat out all the figures on the plate save one4 ,that the arrangement of the new design should coincide generally with that of the first is1 ,i think1 no more than one would naturally expect1 and does not in any way weaken the argument4 ,in conclusion1 it should be pointed out1 for the sake of those who would study the matter further1 that the accounts of the impressions of the several plates in the ,catalogue of ,prints and ,drawings #ih in the ,british ,museum are not easily found1 being somewhat arbitrarily placed at pages #cja-cjg1 vol4 iii41 part i41 and pages #fdd-fdh1 vol4 ii41 respectively4 99 99 99 99 99 ,so far we have seen ,hogarth in his character of general iconoclast and antipapist4 ,it is now our business to deal with him in what was a more personal polemic4 ,in the year #agca ,pope first published his notorious attack upon the ,duke of ,chandos in his satire ,of ,taste3 ,an ,epistle to the ,right ,hon4 ,richard1 ,earl of ,burlington4 ,hogarth forthwith entered the lists1 and designed and published a well-deserved pictorial counterblast1 allusively entitled 8,the ,man of ,taste10 or 8,burlington ,gate40 ,this was immediately 8suppressed0 on a prosecution being threatened because of what was deemed its scurrilous and defamatory character4 ,notwithstanding this prompt suppression1 however1 the design reappeared the following year1 reduced in size1 as frontispiece to a pirated edition of ,pope's 8,epistle10 which was included in a pamphlet entitled ,a ,miscellany on ,taste2 by #ii ,mr4 ,pope1 etc41 published by ,lawton and others4 ,its contents were 7#a7 ,of ,taste in ,architecture1 an ,epistle to the ,earl of ,burlington1 with ,notes ,variorum1 and a complete ,key2 7#b7 ,of ,mr4 ,pope's ,taste in ,divinity3 viz41 the ,fall of ,man1 and the ,first ,psalm1 translated for the use of a ,young ,lady2 7#c7 ,of ,mr4 ,pope's ,taste of ,shakespeare2 7#d7 ,his ,satire on ,mr4 ,p----y2 and 7#e7 ,mr4 ,congreve's fine ,epistle on ,retirement and ,taste1 addressed to ,lord ,cobham4 ,in this copy of the plate ,pope1 who is shown in the original by means of the back of his head and figure1 and as wearing a full-bottomed wig1 is more distinctly satirised1 his face being displayed in profile1 and his head enclosed by a linen cap instead of a wig4 ,amongst a few other minor alterations1 it may be noticed that the palette held by ,kent is transferred from one hand to the other4 ,referring to the republication of ,hogarth's cartoon in this form1 ,mr4 ,dobson seems somewhat inclined to argue against the story of its 8suppression10 or1 at any rate1 its effectual suppression2 but he does not allude to the important fact that the publisher of this pamphlet #ajj was also promptly prosecuted1 and the sale strictly prohibited4 ,from which it is clear that the suppression was as unqualified and as prompt as could reasonably be expected4 ,steevens indeed mentions a copy upon which the following inscription had been made3-- 8,bot4 this book of ,mr4 ,wayte1 at the ,fountain ,tavern1 in the ,strand1 in the presence of ,mr4 ,draper1 who told me he had it of the ,printer1 ,mr4 ,w4 ,rayner4 8,j4 ,,cosins40 ,the signatory was an ,attorney1 and the wording of the memorandum suggests the intended prosecution4 ,to return to ,pope's poem4 ,in it he passes the most scathing criticism upon the splendid but tasteless surroundings of 8,timon0 at his stupendous villa4 8,greatness1 with ,timon1 dwells in such a draught ,as brings all ,brobdingnag before your thought4 ,to compass this1 his building is a town1 ,his pond an ocean1 his parterre a down3 ,who but must laugh1 the master when he sees1 ,a puny insect1 shivering at the breeze6 ,lo1 what huge heaps of littleness around6 ,the whole1 a labour'd quarry above ground4 ,two cupids squirt before3 a lake behind ,improves the keenness of the northern wind4 ,his gardens next your admiration call1 ,on every side you look1 behold the wall6 #aja ,no pleasing intricacies intervene1 ,no artful wildness to perplex the scene2 ,grove nods at grove1 each valley has a brother1 ,and half the platform just reflects the other40 ,and then1 at the end of it all1 he proceeds to justify ,providence1 in giving riches to those who squander them1 in a way that will hardly commend itself to the student of the dismal science4 ,a bad taste1 he says in effect1 employs more hands1 and diffuses wealth more usefully than a good one6 ,one would like to have heard ,john ,stuart ,mill on the subject of 8,pope40 ,the 8,epistle0 was addressed to ,pope's patron1 the ,earl of ,burlington1 who was one of the noblemen who had helped to screen him a few years before on his publication of the ,dunciad4 8,timon0 7mainly though not entirely7 referred to the ,duke of ,chandos1 who was1 ,johnson says1 a man perhaps too much delighted with pomp and show1 but of a temper kind and beneficent1 and who had consequently the voice of the public in his favour4#bj #ajb #bj ,bowles says1 8,as ,pope was the first to deal in personalities1 the following severe retaliation was published in the papers of the time3 8,let ,pope no more what ,chandos builds deride1 ,because he takes not ,nature for his guide2 ,since1 wond'rous critic6 in thy form we see ,that ,nature may mistake1 as well as he40 ,a violent outcry was therefore raised against the ingratitude and treachery of ,pope1 who was said to have been indebted to the patronage of ,chandos for a present of a thousand pounds1 and who gained the opportunity of insulting him by the kindness of his invitation to 8,canons10 the ,duke's seat near ,edgware4 ,in a pamphlet entitled ,ingratitude published in #agcc1 of which only a portion of the frontispiece is in the ,british ,museum1#ba the matter is thus alluded to4 8,a certain animal of diminutive size1 who had translated a book into ,english metre 7or at least had it translated for him71 addressed himself to a nobleman of the first rank1 and in the style of a gentleman-beggar requested him to subscribe a guinea for one of his books4 ,the nobleman entertained him at dinner in a sumptuous manner1 and continued so to do as often as the insignificant mortal came to his house4 ,after dinner this generous man of quality1 taking him aside1 put a bank-note for five hundred pounds into his hands1 and desired he might have but one book4 ,but #ajc what was the consequence of this8 ,why1 truly1 the wretch1 who is a composition of peevishness1 spleen and envy1 having no regard to the benefits he had received1 in a few years after1 and without any manner of provocation1 or the least foundation for truth1 publishes a satire1 as he terms it1 but in reality it is an infamous and calumnious libel1 calculated1 with all the malice and virulency imaginable1 to defame and render odious the character of his best benefactor40 #ba ,vide ,catalogue of ,prints and ,drawings in the ,british ,museum1 ,division ,i41 ,satires1 vol4 ii41 ,no4 #aice4 ,from which it will be seen that ,hogarth was not out of the fashion in retaliating upon ,pope's devoted head with the cartoon which we here reproduce4 ,let us examine it in detail4 ,the gate1 which is the main feature in the picture1 is a travesty of that which is familiar to old frequenters of ,piccadilly4 ,until as lately as #ahfh1 it formed the frontage to ,burlington ,house4 ,it was the joint design of ,lord ,burlington and ,colin ,campbell1 and1 although well-proportioned and inoffensive1 hardly justifies the fulsome praise which has been bestowed upon it4 ,kent1 originally a coach-painter1 with whose statue ,hogarth has surmounted the #ajd structure1 was patronised by1 and brought his practical knowledge to the assistance of1 ,lord ,burlington1 himself undoubtedly a man of enlightened taste4 ,the alteration and reconstruction of the original ,burlington ,house1 which had been built by his great-grandfather1 the first ,earl1 was the first of his many architectural projects4 ,it was eventually taken down to make way for the existing ,royal ,academy and ,science ,buildings4 ,lord ,hervey laughed at its inconvenience in the following couplet3-- 8,possessed of one great hall of state1 ,without a room to sleep or eat40 ,the best of ,lord ,burlington's and ,kent's joint work is to be found in the northern park front of the ,treasury ,buildings in ,whitehall1 8which10 says ,fergusson1 8if completed1 would be more worthy of ,inigo ,jones than anything that has been done there since his time40 ,illustration3 ,the ,man of ,taste ,flanking the ex-coach-painter1 ,hogarth has placed reclining figures of ,raphael and ,michael ,angelo1 who regard the modern architect with respectful admiration6 ,on the platform is ,pope rough-casting the front of the structure1 and #ajf incidentally bespattering the passers-by with whitewash from his huge brush4 ,chief amongst these is the ,duke of ,chandos1 who vainly strives to protect himself with his hat4 ,ascending the ladder is ,lord ,burlington1 who carries up more whitening for the beautifying of his own gate and the defilement of his neighbours' clothes4 ,over the gate ,hogarth has sarcastically inscribed the solitary word 8,,taste40 ,the double distribution of flattery and satire is an excellent pictorial burlesque of the ,epistle to ,lord ,burlington1 and who can say that it was not richly deserved8 ,at any rate1 stroke and counterstroke were fierce and unhesitating in those days1 and1 although ,pope's and his patrons' influence was sufficient to get ,hogarth's witty plate suppressed1 it is a tribute to the wholesome respect which the poet had for the artist1 that1 pugnacious and irrepressible as his pen generally was1 ,pope never ventured to make any written retaliation upon the libeller4 ,it should be mentioned that this was not the first occasion upon which ,hogarth had attacked the charlatanry of ,kent4 ,in the first plate published on his own account1 in #agbd--8,masquerades and #ajg ,operas0--he had included him in his ridicule of what ,mr4 ,dobson calls 8foreign favourites and dubious exotics40 ,in that plate1 also1 he had ridiculed 8,burlington ,gate10 and1 curiously prompted by the spirit of prophecy1 had labelled it 8,accademy 7sic7 of ,arts60 ,he had also1 in the following year1 burlesqued ,kent's scandalous altarpiece at ,st4 ,clement ,danes1 which had lately been taken down in response to the outcry against its sacrilegious impudence4 ,by the kindness of the publisher of ,the ,builder1 ,i am enabled to reproduce a wood engraving of ,burlington ,gate as it actually was1 which appeared in that journal on ,october #bh1 #ahed4 ,comparing this with the cartoon1 it will be seen that ,hogarth did not scruple to heighten the effect of his satire by depriving ,lord ,burlington's edifice of such merits as it undoubtedly possessed4 ,so much for ,hogarth in his polemic with ,pope4 ,we will now turn for a moment to ,hogarth and his quarrel with ,wilkes and ,churchill1 in which we shall find him working over an old plate as in the case of 8,enthusiasm ,delineated10 but with a very different object in view4 ,here he adopts a method #ajh of retaliation which1 as we shall learn from later chapters of this book1 had become already customary amongst the producers of political broadsides in the seventeenth century4 ,hitherto ,hogarth had kept clear of politics1 but now1 in his sixty-fifth year1 he threw himself into the fray4 ,john ,wilkes had started a paper called ,the ,north ,briton in opposition to ,the ,briton1 the organ of the ,tory party of which ,lord ,bute was the leader4 ,hogarth had long enjoyed ,bute's favour4 ,he had also until now been on friendly terms with ,wilkes and his henchman ,charles ,churchill1 the poet4 ,on ,september #g1 #agfb1 taking sides with his patron1 he published ,the ,times 7,plate ,i474 ,this so enraged ,wilkes that he retaliated on the ,saturday following1 in the seventeenth number of ,the ,north ,briton1 with a violent attack on ,hogarth both as man and artist4 ,in the ,may following ,hogarth retorted by publishing a portrait of ,john ,wilkes which1 professing to be a likeness1 cleverly exhibited his most repulsive characteristics4 ,wilkes being now on his trial for libel1 ,churchill came to the rescue with his savage and slashing ,epistle to ,william ,hogarth4 ,this was published on ,august #a4 #aaj ,with a promptitude astonishing in those days of tardy copper-plate engraving1 ,hogarth1 by a clever expedient1 retaliated within a month with his exceedingly venomous print of 8,the ,bruiser40 ,the plate from which this was printed had already done duty as a portrait of ,hogarth himself with his dog ,trump1 engraved from the well-known painting now in the ,national ,gallery4 ,illustration3 ,burlington ,gate as it appeared prior to #ahfh ,pressed for time1 in ill-health1 and apprehensive lest the public might attribute delay in replying to inability to do so1 he took the old plate1 burnished out his own portrait1 and substituted in its place the head of a bear1 with torn and soiled clerical bands about its neck1 ruffles on its wrists1 and clasping against its chest a foaming pot of beer1 in allusion to the personal habits of the poet and ci-devant parson4 ,with his left paw the beast clasps a huge club1 the knots of which are labelled 8,lye #a10 8,lye #b10 referring to the falsities of ,the ,north ,briton4 ,there are other minor alterations which may be seen at a glance4 ,the whole was entitled 8,,the ,,bruiser1 ,,charles ,,churchill 7once the ,revd467 ,in the character of a ,,russian ,,hercules1 regaling himself after having killed #aaa the ,,monster ,,caricature1 that so sorely gall'd his virtuous friend1 the ,heaven-born ,wilkes40 ,the plate thus altered is to be found in five states1 particulars of which may be found on p4 #bhf of ,mr4 ,austin ,dobson's ,william ,hogarth1 #ahia4 ,that here reproduced is from a copy of the last state engraved by ,dent for ,john ,ireland4#bb ,it is only in the last two states that the clever little engraving in front of the palette is to be found4 #bb ,in copying1 the design1 as will be seen1 has been turned from left to right4 ,so far we have dealt with work done by ,hogarth in his individual capacity4 ,let us now turn to such of his collaborative work as suffered cancellation4 ,in dealing with the series of suppressed ,quixote plates we shall be brought into touch with two not uninteresting and accessory episodes in the artist's career4 ,in the first of these ,hogarth made a great success1 where a rival artist had made a signal failure4 ,in the second1 by way of righting the balance of things1 fate ordained it that this same artist should badly best ,hogarth1 and that in a manner peculiarly galling to the latter's vanity4 ,hogarth's father-in-law was ,sir ,james ,thornhill1 #aab whose drawing academy in ,covent ,garden had not proved as valuable an institution as had been anticipated4 ,johan ,van der ,banck1 the rival artist above alluded to1 had been one of ,sir ,james's pupils4 ,by heading a secession and establishing a rival school he had undoubtedly largely contributed to the failure of his master's venture4 ,however1 in due time1 his school too proved to be lacking in the elements of success1 and came to an untimely end4 ,on ,sir ,james's death the 8neglected apparatus0 of his father-in-law passed into ,hogarth's hands1 and he set to work to establish the academy on a different footing4 ,the result was that it became a successful educational centre1 which only ceased to exist many years afterwards on the establishment of the ,royal ,academy4 ,a picture by ,hogarth of the interior of the school with the students drawing from life is to be seen on the staircase leading to the ,diploma ,gallery at ,burlington ,house4 ,in this case ,hogarth had the laugh on his side4 ,in the other1 which is immediately relevant to our subject1 the laugh was with ,van der ,banck4 ,illustration3 ,portrait of ,hogarth with ,his ,dog ,trump#bc #bc ,the plate being re-engraved for ,hogarth ,illustrated became transposed4 ,illustration3 ,the plate reversed and in its last state1 now entitled 8,the ,bruiser0 ,in #agch ,lord ,carteret's ,spanish edition of ,don #aac ,quixote was published4 ,for this ,hogarth had been commissioned to design a series of illustrations4 ,eight of these were executed1 but1 on being submitted to ,lord ,carteret1 did not meet with his approval4 ,the commission was consequently transferred to ,johan van der ,banck1 who thus succeeded in revenging himself for his former failure1 and at the same time unconsciously provided us with matter for consideration in these papers4 ,his sixty-eight designs were engraved by ,van der ,gucht and republished in the ,english edition of #agef1 of which ,charles ,jarvis was the translator4 ,of ,hogarth's unsuccessful venture ,john ,ireland writes with some indignation1 8,as they are etched in a bold and masterly style1 ,i suppose the noble peer did not think them pretty enough to embellish his volume and therefore laid them aside for ,vandergucht's engravings from ,vanderbank's designs40 ,it is a slight satisfaction to know that ,hogarth's completed etchings were paid for6 ,one curious fact about ,jarvis's edition demands our attention4 ,the plate representing the ,don's first sally in quest of adventure is without any #aad signature1 but the 8style of the etching and the air of the figures0 indisputably determine for us the fact that it is from the pencil and burin of ,hogarth1 so that it is open to any one who has access to this edition to judge for themselves of the justice of ,ireland's strictures upon ,lord ,carteret4 ,for those who have not access to ,jarvis's edition it may be mentioned that a copy engraved by ,j4 ,mills appears in ,ireland's ,hogarth ,illustrated and in the ,anecdotes of ,william ,hogarth1 published by ,nichols in #ahcc4 ,of ,hogarth's eight designs we are therefore left with only seven1 which were 8suppressed40 ,of these six were published from ,hogarth's own plates in ,baldwin1 ,cradock and ,joy's splendid collection of the ,works in #ahbb2 whilst previously1 in #agih1 ,john ,ireland had published small copies of them together with an unfinished design of 8,the ,innkeeper0 in his possession1 engraved by ,j4 ,mills4 ,these plates were used over again in the ,anecdotes of #ahcc with altered lettering and the etchings considerably worn4 ,illustration3 ,don ,quixote ,no4 #a4--,the ,innkeeper ,the accompanying reproductions are1 save for #aaf ,no4 #a41 not made from any of the foregoing1 but from the early states of the plates1 never before published1 to be found in the ,british ,museum4 ,thus they will prove not only of interest to the casual reader but also valuable1 for purposes of comparison1 to the possessors of any of the three editions of ,hogarth's ,works mentioned above4 ,the full descriptions of the plates may be found in ,ireland and ,nichols1 but for the convenience of the reader ,i append a short commentary4 ,no4 ,i4 ,the ,innkeeper is from an unfinished etching and is of particular interest4 ,by some its authenticity is doubted1 but ,john ,ireland believed in it1 and ,i1 for one1 see no reason to call his judgment into question1 more particularly as this figure bears a more than chance resemblance to that of 8,the ,innkeeper0 in the undoubted ,hogarth referred to above published in ,jarvis's edition4 ,in the ,van der ,banck plate1 which represents the knighting of the ,don by the ,innkeeper1 it is also evident that ,hogarth's rival has done him the compliment of adopting his model4 ,illustration3 ,don ,quixote ,no4 ,,ii4--,the ,funeral of ,chrysostom ,no4 ,,ii4 ,the ,funeral of ,chrysostom1 ,marcella vindicating herself4 ,this scene was also taken #aah by ,van der ,banck for illustration1 and a comparison of the two plates is not favourable to ,hogarth4 ,no4 ,,iii4 ,the ,innkeepers ,wife and ,daughter taking care of the ,don after he had been beaten4 8,much superior to the same scene designed by ,van der ,banck40 ,no4 ,,iv4 ,don ,quixote seizes the ,barber's ,basin for ,mambrino's ,helmet4 ,on the whole inferior to ,van der ,banck's4 ,the barb of the ,don's weapon is different from that in the ,hogarth design published by ,jarvis4 ,the stirrups and saddling of the horse too are different4 ,these points have not been referred to before1 but ,i mention them by way of argument against the authenticity of the ,jarvis plate4 ,as ,i have said before1 personally ,i have no doubt that it is from ,hogarth's burin4 ,no4 ,v4 ,don ,quixote releases the ,galley ,slaves4 ,here the ,don is found wearing the barber's basin as his helmet4 ,by a not unusual oversight it will be noticed ,hogarth has made his figures left-handed1 forgetful of the reversing process due to printing from a plate4 ,a superior design to that of ,van der ,banck1 who1 as ,ireland says1 8has #aba given to two or three of the thieves the countenances of apostles40 ,illustration3 ,don ,quixote ,no4 ,,iii4--,the ,innkeeper's ,wife and ,daughter ,illustration3 ,don ,quixote ,no4 ,,iv4--,don ,quixote seizes the ,barber's ,basin ,no4 ,,vi4 ,the ,first ,interview of the ,valorous ,knight of ,la ,mancha with the ,unfortunate ,knight of the ,rock4 ,distinctly superior to ,van der ,banck4 ,no4 ,,vii4 ,the ,curate and ,barber disguising themselves to convey ,don ,quixote home4 ,an excellent representation of the curate assuming the dress of a distressed virgin who1 by his tale of having been wronged by a naughty knight1 hopes to induce the ,don to return to his home4 ,whilst on the subject of ,don ,quixote it may be mentioned that1 much earlier in his career1 ,hogarth had designed and engraved a plate dealing with 8,sancho's feast10 but this must not be in any way identified or confused with the series begun for ,lord ,carteret1 although ,ireland groups them all together4 ,illustration3 ,don ,quixote ,no4 ,v4--,don ,quixote releases the ,galley ,slaves ,illustration3 ,don ,quixote ,no4 ,,vi4--,the ,first ,interview ,so much for ,hogarth's suppressed illustrations1 and it is1 it must be confessed1 something of a relief to turn again from his cognate art to that which is individual and typical4 ,for we do not much value ,hogarth as an illustrator4 ,in this character he rarely does more than repeat for us #abd in another medium the obvious matters already dealt with in the letterpress4 8,illustration10 as ,mr4 ,laurence ,housman has well said1 8should be something in the nature of a brilliant commentary throwing out new light upon the subject1 an exquisite parenthesis of things better said in this medium than could be said in any other3 in a word1 the result of another creative faculty at work on the same theme40 ,and this in no way describes ,hogarth's work as an illustrator4 ,it is as a great original painter working out consummately the homeliest of morals that he appeals to us4 ,those morals which1 to quote ,thackeray1 are 8as easy as ,goody ,twoshoes10 the moral of 8,tommy was a naughty boy and the master flogged him1 and ,jacky was a good boy and had plum-cake40 ,for it is in 8,marriage la ,mode10 8,a ,rake's ,progress10 8,industry and ,idleness10 that he succeeds inimitably1 carrying out the motto beneath 8,time ,smoking a ,picture03-- 8,to ,nature and your ,self appeal ,nor learn of others what to feel40 ,illustration3 ,don ,quixote ,no4 ,,vii4--,the ,curate and the ,barber ,but this only in passing1 for our subject debars us from lingering over ,hogarth's best4 #abf ,from the nature of our theme we are confined to the examination in the majority of cases of that which verges upon failure either from artistic or social considerations4 #abg ,,chapter ,,vii ,,cancelled ,,designs ,,for ,,punch ,,and ,,once ,a ,,week ,,charles ,,keene ,,and ,,frederick ,,sandys ,in the present chapter ,i propose to deal with three masterly drawings prepared for the publications of ,messrs4 ,bradbury and ,evans 7the predecessors of ,messrs4 ,bradbury and ,agnew7 which were suppressed for various reasons4 ,two of them are drawings by ,charles ,keene done for ,punch1 which were never even 8brought to the block40 ,the third is by ,frederick ,sandys1 designed for ,once a ,week1 and actually engraved1 but cancelled before publication for reasons which shall appear4 ,for leave to reproduce the first--one of the rare cartoons 7in this case a double-page one7 drawn by ,keene for ,punch--,i am indebted to #abh the generosity of ,messrs4 ,bradbury and ,agnew1 to whom the original drawing now belongs4 ,for years it has hung amongst other well-nigh priceless treasures in the dining hall in ,bouverie ,street1 ,whitefriars1 and1 until reproduced by me in the ,pall ,mall ,magazine in #ahii1 was only known to the privileged few whose good fortune it has been to penetrate into that ,temple of the ,comic ,muse4 ,it is therefore with the greater satisfaction that it is here reproduced for the delight of that surely increasing public which recognises in ,charles ,keene the greatest master of pen-and-ink drawing that ,england has produced4 ,but this is not the place to linger over the qualities of artists4 ,at the same time we cannot but congratulate ourselves that1 by good fortune1 our chosen subject brings us into contact not only with work to which adventitious interest attaches1 but also with artistic work evidencing a technical mastery hard indeed to surpass4 ,illustration3 ,the ,cancelled ,cartoon4 7,by ,charles ,keene7 ,the only public mention before the year #ahii made of this splendid pen-and-ink drawing is to be found on page #fj of ,mr4 ,spielmann's monumental work1 ,the ,history of ,punch4 ,there1 in his most #abi interesting description of ,the 8,punch0 ,dining ,hall1 it is described as 8a masterly drawing1 #b feet long1 by ,keene1 bought by the late ,mr4 ,bradbury at a sale--the 7unused7 cartoon of ,disraeli leading the principal financiers of the day in hats and frock-coats across the ,red ,sea4 7#8,come along1 it's getting shallower6'70 ,now1 since this was written1 further inquiries have been made upon the subject1 and two theories present themselves for consideration4 ,the first of them in its general outline supports ,mr4 ,spielmann's account1 and maintains that the picture was bought direct from ,keene himself by the late ,mr4 ,agnew 7not ,mr4 ,bradbury71 as a solatium on account of its not being used1 and that the reason for suppressing it was the anti-,jewish feeling by which it was inspired4 ,in support of this view it should be remembered that ,keene all along refused to accept a fixed salary for his ,punch work1 and was always paid by the piece4 ,considering1 too1 that the subject of the weekly cartoons was 7and still is7 a matter of general discussion at the ,wednesday ,punch dinners1 it is not unreasonable to suppose that the #acj subject was embarked upon with the authority of the editor1 and that other counsels only prevailed after the drawing had reached the stage at which it now appears4#bd ,this being so1 it seems not unlikely that a generous employer would feel himself in some degree answerable for the futile labour to which the artist had been put1 and would offer to buy the picture as it stood rather than that the artist should in any way be prejudiced4 ,if this were the case 7which does not sound improbable7 it throws an interesting and edifying side-light upon the relations existing between the artists and publishers of our great comic paper4 #bd ,of course ,sir ,john ,tenniel was cartoonist in chief1 but sometimes the cartoon was duplicated1 and on very rare occasions ,sir ,john took a holiday4 ,against this theory1 however1 ,i have the opinion of ,sir ,john ,tenniel and ,mr4 ,linley ,sambourne that the drawing was done on ,keene's own initiative by way of frontispiece to one of the ,punch pocket-books4 ,but this view of the matter ,i am1 with submission1 not myself inclined to accept1 and for two reasons4 ,first and foremost1 the drawing differs in shape from the pocket-book folding frontispieces2 and secondly1 it was the #aca practice in these yearly productions rather to satirise some social folly or fashion of the period than to deal with matters political or international4 ,in addition to which it does tally in shape with the double-page cartoons of ,punch itself1 and1 as a matter of fact1 ,keene's few cartoons were mostly done during the years #ahge1 #ahgf1 and #ahgg1 when the matter of the ,suez ,canal was making a new departure in politics--a fact which1 as will appear1 has some bearing upon the matter before us4 ,so much for the circumstances connected with the production and proposed destination of the picture4 ,let us now consider its subject and the probable reason of its suppression4 ,and1 if we take down our volume of collected ,punch cartoons and turn to those dealing with ,disraeli1 we shall be disinclined to think that it was out of any consideration for 8,benjamin ,bombastes0 himself that this splendid drawing was withheld from publication4 ,but thinly disguised contempt is the attitude almost invariably maintained towards him1 whilst but thinly disguised personal admiration for his great rival discounts even the bitterest political taunts #acb flung at that devoted head4 ,no6 ,i am inclined to think that events at this time1 to which this cartoon referred1 were wringing unwilling approbation even from 8,the ,asiatic ,mystery's0 most bitter enemies1 and that ,bouverie ,street could not but acknowledge that here at least 8,ben-,dizzy0 deserved well of his country4 ,for surely the cartoon has reference to nothing less than that crowning act of wisdom1 the purchase of nearly half the shares in the ,suez ,canal for four millions sterling4 ,here we have ,disraeli with his umbrella pointing the way1 not across the ,red ,sea as ,mr4 ,spielmann imagines1 but up the ,canal towards the ,red ,sea4 ,he calls out1 8,don't be afraid6 it's getting shallower10 thus possibly referring to the original notion 7afterwards disproved7 that the level of the ,mediterranean was #cj feet below that of the ,red ,sea4 ,on the right-hand1 and ,egyptian1 side of the water1 if we look carefully1 we discover the shadowy outline of the ,sphinx and the ,pyramids1 which latter rise dimly to the margin of the drawing4 ,on the bank indistinct forms of the ,liberal 8,opposition0 wave their arms1 hurl stones and shout 8,yah0 at the #acc wading financiers4 ,such was the hardly congratulatory attitude assumed towards this masterly move by ,charles ,keene4 ,but when we turn to the cartoons dealing with this subject by ,sir ,john ,tenniel1#be which did appear1 what do we find8 ,the first is 8,mos in ,egitto0666 published on ,december #aa1 #ahge1 to which1 in the collected cartoons1 the following note is appended3--8,mr4 ,disraeli extorted the admiration of the country by purchasing for #d1jjj1jjj1 on behalf of the ,government1 the shares in the ,suez ,canal held by the ,khedive of ,egypt40 ,the second is entitled 8,the ,lion's ,share--,gare qui la touche10 on ,february #bf1 #ahif1 to which the note appended runs3 8,the acquisition of the ,suez ,canal shares was accepted by the country as securing the safety of #8,the ,key to ,india4'0 ,these1 as will be seen1 frankly recognise the wisdom of the purchase4 ,hence it is not surprising if the feeling against the suggestion contained in ,keene's cartoon--that the financiers of the day were being put into a #acd ridiculous position by the ,conservative ,leader--was strong enough to result in its rejection4 ,its inclusion would have gone far to stultify the effect of the congratulatory attitude taken up by ,punch's chartered cartoonist4 ,at any rate1 this view of the case appears to be most reasonable1 and ,i give it for what it is worth4 #be ,it may be mentioned as an interesting fact that no engraved cartoon after ,sir ,john ,tenniel has ever failed to find its place in the number for which it was designed4 ,the drawing is a fine example of ,keene's power of endowing his models with the qualities requisite to his design4 ,not a man of these seventeen financiers suggests a model posing1 and yet all1 for this was ,keene's invariable custom1 were drawn from the life4 ,not one of them but is balanced as though he were wading in water up to his knees2 and yet not one of them1 we may be sure1 was wading against a stream when1 probably unconsciously1 he was forced into the service of the artist's pencil4 ,the pose of one and all is as inevitable as is the expression on the face of each4 ,i would ask all my readers who are seekers after consummate draughtsmanship to give more particular attention to this beautiful drawing than its mere subject would demand1 remembering that ,keene's achievements in black-and-white are #ace unsurpassed1 and1 ,i am inclined to think1 unsurpassable4 ,we will now turn to the consideration of the other suppressed ,keene drawing4 ,this1 we shall find1 owed its rejection not to political but to social considerations4 ,and it is of peculiar interest1 not only as showing the scrupulous care taken by the then editor of ,punch to avoid the risk of offending the susceptibilities of his readers1 but also as an example of the extensive collaboration which existed between ,keene and the late ,mr4 ,joseph ,crawhall in the supply of 8socials0 to that paper week by week4 ,let us pause for a moment1 then1 to recall the particulars of this remarkable co-operation4 ,early in the 'seventies1 ,keene1 who was often gravelled for humorous subjects on which to exercise his pencil1 was by good fortune introduced to the author of ,border ,notes and ,mixty-,maxty1 and many other droll books of a like character4 ,this gentleman1 always a lover of things quaint1 grotesque and jocular1 had been for years in the habit of jotting down any telling incident that came in his way1 illustrating it at leisure for his #acf own amusement4 ,he was no great artist2 but1 like ,thackeray1 his inadequate pencil was so compelled and inspired by the appreciation of his subjects that he was able to set them down pictorially in a manner so nave and at the same time so intelligent that they are a joy to the beholder4 ,these suggestive drawings1 by the time the introduction had taken place1 filled several volumes4 ,keene's delight1 then1 may be well imagined when he was given carte blanche to cull the best of the subjects for use in ,punch4 ,he wrote3-- 8,i can't tell you how strongly ,i have felt your rare generosity and unselfishness in letting me browse so freely in your pastures40 ,and again3-- 8,many thanks for the loan of the sketch-books4 ,i enjoyed them again and again1 with renewed chucklings2 but what a mouth-watering larder to lay open to a ravenous joke-seeker60 ,illustration3 ,the ,cancelled 8,social40 7,by ,charles ,keene7 ,illustration3 ,suggestion by ,joseph ,crawhall for the ,cancelled 8,social0 ,fortunately ,mr4 ,crawhall was as delighted to be of service to the great artist as ,keene was to avail himself of his opportunity4 ,hence we have that delightful partnership of which full particulars #acg may be found in my ,life and ,letters of ,charles ,keene of 8,punch40 ,it is necessary to say so much for the purpose of introducing the subject of the second of ,keene's cancelled drawings4 ,by a great piece of good fortune ,i have in my possession ,mr4 ,crawhall's pictorial suggestion for the rejected picture itself1 presented to me by the artist4 ,i reproduce it here alongside ,keene's drawing for the purpose of comparison4 ,the humour of it is certainly rather brutal1 and one is not surprised to find that the editor considered that it would 8jar upon feelings40 ,keene1 on the other hand1 was naturally disgusted at his labour being thrown away1 and vented his wrath somewhat unreasonably upon the 8,philistine editor40 ,for the sake of those who would like to gain some idea of the personality of the artist's friend who acted1 as ,boswell did to ,johnson1 in the capacity of a 8starter of mawkins10 it may be mentioned that an excellent back view of ,mr4 ,crawhall1 drawn by ,keene1 appears in ,punch1 ,march #aa1 #ahhb1 over the following delicious 8legend03-- #ach ,,lapsus ,,lingu ,,pater3 8,now1 look here1 my boy1 ,i can't have these late hours4 ,when ,i was your age my father wouldn't let me stay out after dark40 ,,filius3 8,humph6 nice sort o' father you must have had1 ,i should say40 ,,pater 7waxing73 8,deuced sight better than you have1 you young----0 7,checks himself1 and exit47 ,the original of the ,punch drawing here reproduced was presented to ,mr4 ,crawhall by ,charles ,keene4 ,this was the latter's method of repaying the former for his unqualified generosity4 ,mr4 ,crawhall was1 however1 somewhat embarrassed by what he considered to be excessive payment for services which he held required no other recompense than the honour thus conferred on his poor drawings4 ,the result was a generous contest which resulted in his finally refusing to accept them1 8,for10 said he1 8you don't know the value of your work4 ,the reward is too great1 and our happy connection must cease if you put me under these obligations40 ,keene1 nevertheless1 always afterwards made a colourable excuse to send them when he could think of one1 although by this time he was well #aci aware that he was as great a magician as the ,old ,lady of ,threadneedle ,street1 and could by a few strokes of his pen make the back of an old envelope rival the value of one of her crisp bank-notes4 ,but we must not linger over the cancelled drawings of an artist who1 had he been as great in imagination as he was in originality of method and mastery over his pencil1 would have been as great as the greatest in ,art4 ,it is now our delightful task to turn to another of the men of the 'sixties1 whose imagination and sympathy with high romance has rarely been surpassed1 and whose technical mastery1 though not the equal of his great contemporary1 was yet so distinguished that1 even divorced from his other qualities1 it would give him a niche in the ,temple of ,fame4 ,frederick ,sandys has but lately left us1 and how few there are who recognise the greatness of his work6 ,for years it has been a matter of astonishment to me that his name was not on every tongue4 ,keene1 alive1 was practically unknown4 ,keene1 dead1 occupies an unassailable position4 ,sandys is known and esteemed only by #adj the few4 ,the time will come when his pictures will be a fashionable craze1 and every woodcut after him1 whether it be in ,once a ,week1 ,the ,cornhill1 ,good ,words1 ,london ,society1 ,the ,churchman's ,family ,magazine1 ,the ,shilling ,magazine1 ,the ,quiver1 ,the ,argosy1 or what not1 will be eagerly appropriated by those who wish to pass as discerning dilettanti4 ,but we must not generalise1 for our concern is here with one particular design1 and enthusiasm must not be allowed to run4 ,done for ,once a ,week1 and cut exquisitely on the wood by ,swain1 that with which we have to do was at the last moment cancelled by a timidly fastidious editor4 ,if we turn to page #fgb of vol4 iv4 of ,once a ,week 7new series71 #ahfg1 we shall find the following set of verses1 signed 8,w410 the origin and authorship of which ,i am now able to make public3-- ,,dana ,the hour of noonday sleep was o'er1 ,and ,dana dreamt her dream no more2 ,yet still its image lingered on her loom2 ,for there in woven colours bright1 ,and touched to life by purpling light1 ,smiled the one godhead of the captive's room4 #ada ,she raised her from the ,tyrian sheet1 ,and clasped her sandals on her feet1 ,and lightly drew around her virgin zone2 ,and sighed--and knew not why she sighed2 ,and murmured1 while her work she plied1 8,the ,world may leave my love and me alone40 ,thus sang the maiden of the brazen tower1 ,and longed1 unconscious1 for the golden shower4 8,the days and months have grown to years1 ,and ,i have dried my childish tears1 ,and half forgotten why they ever ran2 ,my soul is plighted to the sky1 ,and we1--my wrinkled nurse and ,i1-- ,what matter if we see no more of man8 ,she wearies me with omens dire1 ,my son foredoomed to kill my sire1-- ,but sire and son are empty names to me4 ,my love6 ,i only rest awhile1 ,to dream the beauty of thy smile4 ,and only wake again to picture thee40 ,thus sang the maiden of the brazen tower1 ,and longed1 unconscious1 for the golden shower4 ,she ceased3 for now began to fade ,the figure of that mighty shade1 ,with loins and shoulders meet to sway the world2 ,and awful through the gloom appeared ,his massive locks of hair and beard1 ,like clouds in lurid light of thunder curled4 ,yet1 long as twilight glimmered there1 ,she gazed upon a vision fair2 ,his brow more beautiful than ,parian stone1 ,and nestling nearer like a dove1 ,soft on his lips she breathed her love1 #adb ,and lit his eyes with lustre of her own4 ,then passion stung the maiden of the tower1 ,and fast she panted for the golden shower4 ,she stood1 with white arm fixed in air1 ,and head thrown back1 and streaming hair1 8,oh1 ,lord of ,dreams60 she cried1 8dost thou behold80 ,then thunderous music shook the cell1 ,and1 sliding through the rafters1 fell ,on ,dana's burning breast1 three drops of gold4 ,her bosom thrilled--but not with pain3-- ,faster and brighter flowed the rain1 ,and starred with light the chamber of the bride3 ,her cheek sank blushing on her hand1 ,her eyelids drooped1 her silken band ,unloosed itself1--and ,jove was at her side4 ,black loured the earth around the captive's tower1 ,but ,heaven embraced her in the golden shower4 ,i insert the poem here1 as it constitutes the only trace in the pages of ,once a ,week of the matter with which we have to deal4 ,before proceeding to detail the circumstances connected with the production and final suppression of the engraving1 which prompted this passable set of verses1 ,i shall endeavour to correct certain statements regarding it which have gained currency4 ,in the ,artist monograph on 8,the ,art of ,frederick ,sandys10 in #ahif1 we find a few lines only given to the consideration of the #add wood-engraving of 8,dana in the ,brazen ,chamber02 but in these few lines we have one undoubtedly incorrect statement1 and another which is open to the gravest suspicion4 ,the first is that the 8,dana0 was engraved for ,the ,hobby ,horse in #ahhh2 the second that it was drawn for ,once a ,week in #ahfj4 ,illustration3 ,dana in the ,brazen ,chamber ,as regards its engraving1 this was done by ,swain for ,once a ,week1 when the drawing was sent in4 ,that it was first published in ,the ,hobby ,horse as an illustration to an article by the late ,j4 ,m4 ,gray is another matter altogether4 ,as regards the date of its design1 #ahfj is almost certainly some years too early4 ,indeed1 ,i had it from ,sandys himself that the probable date of the first sketch of the subject was as late as #ahfe1 and that it was not till after he had traced it on a panel#bf 7the figure some two feet high7 for a never-completed oil-painting1 and later had made a chalk-drawing of it for a ,yorkshire gentleman1 that he decided to make a drawing on the wood at all4 ,this being done1 its beauty prompted two poems by two of his personal friends1 the one #ade given above by ,mr4 ,ward1 the other1 so far as ,i can gather never published1 by ,colonel ,alfred ,richards4 ,now1 the fact that ,mr4 ,ward's poem did not appear in ,once a ,week till #ahfg lends such overwhelming weight to ,mr4 ,sandys's recollection of the matter that we may1 ,i think1 unhesitatingly reject the date of #ahfj given by the author of the ,artist monograph and adopt a date at least five years later4 ,further evidence1 too1 is to be found in the fact that ,mr4 ,sandys continued to draw on the wood certainly as late as #ahff1 and his recollection is clear as to 8,dana0 being his last essay in that medium4 #bf ,this is now1 ,i believe1 in the possession of ,mr4 ,ashby-,sterry4 ,i have been thus particular to correct this matter because it will1 ,i believe1 prove of importance1 when ,sandys's artistic career comes finally to be described1 to get his different productions into chronological order for a proper understanding of his artistic development4 ,so far1 then1 we have arrived1 at any rate approximately1 at the date when ,sandys did what proved to be not only his one 8suppressed0 drawing1 but1 as ,i have said1 the very last drawing done by him on the wood4 #adf ,let us now consider the circumstances under which it was produced for1 but in the event suppressed by1 the editor of ,once a ,week4 ,and that this periodical is the poorer for its loss will be obvious to all who love beautiful drawing1 8splendid paganism10 and fine wood-engraving4 ,sandys began to draw for ,once a ,week in #ahfa1 his initial effort being that splendid design1 8,yet once more on the ,organ play10 which is fit to rank with ,rethel's 8,der ,tod als ,freund10 with which there is a certain similarity of sentiment4 ,this was followed by eleven drawings within the five succeeding years1 all breathing the spirit of ,drer1 and carrying on the effort which ,rethel1 who had only died in #ahei1 had made to renew the life put into wood-engraving by the old ,german master4 ,in either #ahfe or #ahff ,sandys projected an oil picture on the subject of 8,dana in the ,brazen ,chamber40 ,he had conceived a new version of the ,dana legend4 ,instead of ,jove appearing to the imprisoned maiden in the form of a golden shower1 he adopted the belief in ,jove as the ,god of ,dreams and adapted it to the legend4#bg ,dana1 #adg who has never seen a man1 is haunted by the appearance of ,jove as he has presented himself in her sleeping hours4 ,to comfort herself and satisfy her passionate longing she has spent her days in weaving the image so vouchsafed to her in tapestry4 ,for the moment her work is discarded4 ,the ball of wool with which she has been working lies at her feet1 and she stands1 8with white arm fixed in air10 calling upon the 8,lord of ,dreams0 to come to her in very sooth4 #bg ' 4--,homer1 ,iliad i4 #fc4 ,frankly sensuous as is the picture1 one cannot but admit that the theme is treated with all necessary restraint4 ,this1 however1 does not appear to have been the opinion of ,walford1 the then editor of ,once a ,week4 ,he wrote to ,sandys requiring a modification of the design4 ,this the artist flatly refused4 ,the design must appear as it was or not at all4 ,in this refusal he was gallantly supported by the proprietors of the periodical1 ,messrs4 ,bradbury and ,evans4 ,the editor1 however1 would not give way1 and the result was a deadlock4 ,the block was actually engraved by ,mr4 ,swain1 and in his best manner1 but the editor's will was paramount1 and it never #adh adorned the pages for which it was intended4 ,it was reserved to the ,century ,guild ,hobby ,horse1 in #ahhh1 to rescue it from the oblivion into which it had passed4 ,i am indebted to ,messrs4 ,bradbury and ,agnew for permission to reproduce the design4 ,of it ,mr4 ,j4 ,m4 ,gray says in his article on 8,frederick ,sandys and the ,woodcut ,designers of ,thirty ,years ,ago03--8,it ranks among the very finest of ,sandys's woodcuts10 and the artist1 who had not been uniformly satisfied with the engraved versions of his work1 himself wrote to me3 8,it was engraved for ,once a ,week4 ,perfectly cut by ,swain4 ,from my point of view the best piece of woodcutting of our time40 ,and all who love this beautiful but fast disappearing handmaiden of the arts will heartily endorse ,mr4 ,sandys's opinion4 #adi ,,chapter ,,viii ,,miscellaneous ,i propose in this chapter to group together certain sporadic suppressions in lithography1 etching1 wood-engraving1 and process work4 ,they are not sufficiently important each to demand a chapter to itself1 nor do they fall into any particular categories as do the 8,dickens10 8,hogarth10 and 8,cruikshank0 plates4 ,at the same time each has an interest of its own1 and is a footprint upon the byway of art with which we are concerned4 ,fortunately for us the first of these cancelled illustrations is1 at a time when we have but lately been celebrating the centenary of ,senefelder's great invention1 lithography1 of extraordinary interest1 for it was one of the earliest book illustrations produced in ,england by this method4 ,the #aej volume in which it appears 7if we are lucky enough to possess one of the first three hundred copies issued7 is the ,antiquities of ,westminster1 with two hundred and forty-six engravings by ,j4 ,t4 ,smith4 ,the date of the volume is #ahjg--;a fact which would at first sight seem to tell against our claim to be dealing with a pioneer ,english lithograph4 ,we must1 however1 remember that a book of this kind took many years to produce1 and that the publication of the illustrations was1 in many cases1 of necessity years later than their execution4 ,lowndes oddly refers to the lithograph as the first 8stone-plate0 ever attempted1 but in this he claims for it too great a distinction4 ,to name no others1 there was1 we know1 as early as #ahjc a portfolio containing drawings by ,west1 ,fuseli1 ,barry1 and ,stothard issued as ,specimens of ,polyautography1 by which term lithography was for a few years described1 which contains lithographs dated #ahja and #ahjb4 ,illustration3 8,the ,painted ,chamber40 7,from ,antiquities of ,westminster1 #ahjg47 ,the subject of the design here reproduced in facsimile is the inside of the ,painted ,chamber which was part of the ,old ,palace of ,westminster4 #aea ,the mural paintings which were discovered at the beginning of this century1 after the removal of the tapestry hangings which are to be seen in the lithograph1 were1 it will scarcely be credited1 promptly ordered by the authorities of the day to be 8improved0 away by a coat of whitewash because of their untidiness6 ,and this although they were known to have been in existence since #acbb1 and although there were strong reasons for the belief even at that time that they were executed as early as the reign of ,henry ,,iii46 ,such an act of vandalism would be inconceivable were it not that we have learnt to look upon its like as so lamentably common4 ,the account of the preparation of the lithograph1 and of the stone's untimely fate1 is fully set forth on pages #di and #ej of the ,antiquities4 ,it is too long to quote in this place1 but is well worth looking up by those who are interested in the history of this method4 ,it is sufficient for our purpose to say that after three hundred impressions had been taken off1 the stone was laid by for the night without care having been taken to keep it properly moist4 ,the result was that #aeb on the application of the ink balls in the morning they proved too tenacious1 and on their removal were found to have torn up portions of the drawing from the stone4 ,consequently we have it that impressions of this1 one of the first ,english lithographs1 are exceedingly scarce1 and are only to be found in the first three hundred copies of the book issued4 ,this fact connotes the further result that the impressions of the etchings throughout the book in their earliest states are to be found in the copies containing the lithograph4 ,before quitting this subject it should be stated that in 8collating0 this book we must bear in mind a very pretty quarrel which took place between the artist and ,j4 ,s4 ,hawkins1 who was largely responsible for the letterpress4 ,as has been pointed out1 the first #cjj copies contained the 8stone-plate40 ,but in only a very few copies is to be found the suppressed title-page bearing the name of ,john ,sidney ,hawkins1 and the dedication to ,george ,,iii41 signed 8,the ,author40 ,these few copies contain the very earliest impressions of the plates4 ,in the later copies the dedication is signed 8,john ,thomas ,smith10 and bound up #aec in most of these is found a 8,vindication0 by ,j4 ,t4 ,smith in answer to 8,a ,correct ,statement and ,vindication of the conduct of ,john ,sidney ,hawkins1 ,esq41 ,f4,a4,s41 towards ,mr4 ,john ,thomas ,smith1 drawn up and published by ,mr4 ,hawkins himself40 ,lond4 #ahjg1 #hvo1 p4 #hg4 ,j4 ,t4 ,smith's answer was further replied to in another pamphlet by ,hawkins dated #ahjh4 ,we will now turn from this specimen of lithography to a very remarkable example of the sister art of wood-engraving4 7,vide ,frontispiece47 ,in the ,april number #ahif of ,good ,words1 ,i dealt with some bibliographical curiosities1 one of which was the remarkable suppressed title-page in my possession here reproduced4 ,my object on that occasion was to verify the fact of which ,i felt practically certain1 that the book for which it was prepared had never come into being1 and that therefore we had the curious anomaly of an elaborately engraved title-page wanting a book4 ,books wanting their engraved title-page are unfortunately common enough1 owing to the barbarism of certain ruthless collectors4 ,but a title-page not only wanting a book1 but which #aed never had one1 was as extraordinary as the grin of the ,cheshire ,cat in ,alice in ,wonderland1 which was left behind after its author had disappeared4 8,well6 ,i've often seen a cat without a grin10 thought ,alice1 8but a grin without a cat6 ,it's the most curious thing ,i ever saw in all my life40 ,but then ,alice had never seen this title-page of a book by 8,sholto ,percy0 which was never written1 and of which ,death in ,london was to have been the title4 ,the wood-block is a very beautiful one1 cut by ,mason1 no doubt ,abraham ,john1 who engraved ,cruikshank's illustrations to ,tales of ,humour and ,gallantry4 8,sholto ,percy0 was the pen-name of ,joseph ,clinton ,robertson1 who1 with ,thomas ,byerley1 published the ,percy ,anecdotes1 #ahba-bc4 ,their full pseudonyms were 8,sholto and ,reuben ,percy1 ,brothers of the ,benedictine ,monastery1 ,mount ,benger40 ,the anecdotes were published in forty-one parts1 at half-a-crown a-piece1 before the close of the year #ahbc1 and1 of these1 two hundred and sixty thousand copies were sold during the four years of issue6 ,what number subsequent editions #aee have run to it is impossible to conjecture4 ,the title of the book had its origin from the ,percy ,coffee-,house in ,rathbone ,place1 which the collaborators frequented4 ,they also compiled ,london1 or ,interesting ,memorials of its ,rise1 ,progress1 and ,present ,state4 #c vols4 #ahbc4 ,in the dedication of this last work to ,george ,,iv4 we find facsimile signatures of the two 8,brothers40 ,that of 8,sholto ,percy10 the author of the book which was evidently projected but never published1 tallies with that on the title-page here reproduced4 ,from the fact that ,reuben's signature is absent we gather that1 for some reason or other1 the collaboration had come to an end4 ,at any rate nothing more is heard of the partnership1 nor indeed was anything else published under one or other of these noms-de-plume4 ,and although ,i received various communications from strangers upon the subject of the bibliographical curiosities dealt with in the ,good ,words article1 no light was thrown upon this perplexing title-page4 ,suppressed1 therefore1 it doubtless was1 because it had no reason to be anything else1 and remains a rather pathetic memorial of the gifted #aef artist and the author whose projected enterprise was perchance cut short by one of the forms of the ,dread ,enemy here portrayed4 ,the block is worthy of careful scrutiny4 ,the only impression in existence 7as ,i believe it to be7 and in my possession is beautifully printed on ,india paper4 ,in it we find ,bewick's white line used with excellent effect4 ,behind the main panel the colossal form of ,death is just visible1 holding in either hand 8,death in the ,cup0 and 8,death in the ,dish40 ,at the lower corners his skeleton feet are just visible1 fixed on the ,arctic and ,antarctic portions of the ,globe4 ,at the top of the panel ,death drags a wheel off the chariot which is making a dash from ,london to ,gretna ,green4 ,immediately below this is a nail-studded coffin from which hangs a pall inscribed with the words 8,death in ,london40 ,this overhangs the central group1 in which ,death spectacled and seated on a tombstone at a desk supported by human thighs1 with a human skull as footstool1 receives despatches and directs his myrmidons4 ,supporting this central panel two skeletons hurl death-dealing darts1 whilst below one skeleton #aeg starves in prison1 and another1 crowned with straw1 rages as a maniac4 ,on the right-hand border a skeleton highwayman1 pistol in hand1 awaits his victim1 ignoring the gallows which is seen under the moon in the background1 and ignorant of the noose already round his neck1 manipulated by a skeleton hangman in the division above4 ,on the left-hand border a somewhat cryptic design represents a skeleton toper surmounting a skeleton quack physician who sucks a cane and1 with medicine bottle in hand1 goes forth on his death-dealing mission4 ,at the base ,death1 in a deluge of wind and rain1 overturns a sailing boat1 and incidentally presses down a struggling victim with his foot4 ,the whole effect is finely decorative1 and far surpasses anything else of ,seymour's of which ,i have knowledge4 ,but we must not linger too long over each item of our promiscuous collection of cancelled illustrations4 ,i shall now bring to your notice a very rare coloured plate by ,henry ,alken1 which1 though not suppressed in the strictest sense1 is yet #aeh sufficiently relevant to the subject to admit of its inclusion in these papers4 ,it was undoubtedly prepared for a book of which ,alken was the illustrator1 but1 for some reason or other1 although engraved1 it was not included among the published plates4 ,during the years #ahca-ci there appeared in ,the ,new ,sporting ,magazine1 edited by ,r4 ,surtees1 a series of sporting sketches of which 8,mr4 ,john ,jorrocks0 was the hero4 ,these papers were collected and published in #ahch under the alliterative title of ,jorrocks's ,jaunts and ,jollities1 illustrated by 8,phiz40 ,this volume was brought to the notice of ,lockhart1 who thereupon advised ,surtees to try his hand at a sporting novel4 ,the immediate result was ,handley ,cross4 ,in #ahdc a third edition of ,jorrocks's ,jaunts and ,jollities appeared1 with sixteen coloured plates after ,henry ,alken4 ,the novels in the meantime were being issued with illustrations by ,leech and 8,phiz40 ,that the former has at this distance of time lost nothing of its popularity 7rather1 of course1 on account of the illustrations than for the letterpress1 which reads poorly enough now7 is evidenced by #aei the fact that only the other day a copy fetched at public auction the remarkable sum of #bj4 ,one wonders what the bidding would have reached had the book been extra-illustrated with the unused illustration of which it is here my purpose to treat4 ,now we must be careful1 in considering any work signed 8,alken10 to bear in mind the fact mentioned by ,mr4 ,r4 ,e4 ,graves in the ,dictionary of ,national ,biography1 that although the fertility of ,alken's pencil was amazing1 the idea of it might be fictitiously enhanced if the fact were not grasped that he left two or three sons--one of whom was also named ,henry--all artists and all sporting artists1 who have1 since their father's time1 been incessantly painting1 lithographing1 aquatinting and etching for the sporting publishers and for private patrons of the turf4 ,but the original ,henry ,alken did his work between #ahaf and #ahca2 hence it is clear that the illustrations to ,jorrocks were the work of ,henry the younger4 ,and this is a point which should be emphasised for the guidance of the bibliomaniac1 for it is the practice of many second-hand booksellers to lump all work by 8,alken0 under one head1 from #afj ignorance possibly--in some cases ,i fear from unworthy motives4 ,for it is the work of ,henry ,alken1 the founder of the line1 which is of greatest rarity and greatest merit1 and to palm off work done by a namesake as work done by him is plain cheating4 ,we remember the parallel case of ,george ,cruikshank1 who exposed a certain publisher1 in a somewhat intemperate pamphlet afterwards suppressed1 entitled ,a ,popgun fired off by ,george ,cruikshank1 etc41 etc4 ,in that case the publisher had been guilty of the more than questionable proceeding of advertising certain 8story-books0 as 8illustrated by ,cruikshank10 which were in reality the work of ,george's nephew1 ,percy1 who1 ,i fancy1 would have been the last to concur in what was an undoubted attempt to mislead the public4#bh #bh ,the woodcut of the irascible ,george suspending the unhappy ,brooks by the nose from a pair of tongs is reproduced in my little book on ,cruikshank's ,portraits of ,himself4 ,illustration3 ,the suppressed portrait of 8,john ,jorrocks1 ,esq41 ,m4,f4,h41 etc40 7,by ,henry ,alken1 the younger7 ,let it be clearly understood1 then1 that the plate which we here reproduce was the work of ,henry ,alken the younger4 ,though of little artistic merit1 it is yet not unworthy of those which were published1 and the reason of its #afa suppression is difficult to fathom4 ,the plate should be undoubtedly annexed1 on its very rare appearance1 by him who values his ,jorrocks4 ,this would make his copy1 in the words of the second-hand booksellers1 a 8really desirable0 one4 ,our reproduction is not quite the size of the original1 which exactly tallies in size and shape with the published plates4 ,the line of publication runs3 8,london1 ,published by ,r4 ,ackermann at his ,eclipse ,sporting ,gallery1 #aia ,regent ,st4 #ahdc40 ,the method employed in its production is a mixture of etching and aquatinting1 and this impression has been coloured by hand with the brilliant tints which appealed to our sporting forebears4 ,there need be no complaint about its lowness of tone4 ,it would put to the blush the most versi-coloured of kaleidoscopes6 ,to parody ,dr4 ,johnson's animadversion upon a certain ode1 it would be just from the strict artistic standpoint to say1 8,bolder colour and more timorous meaning1 ,i think1 were rarely brought together40 99 99 99 99 99 ,so much for some unattached suppressions of the first half of the century4 ,we will conclude #afb this chapter with certain cancelled plates of only yesterday4 ,to those who have not yet grasped the fact 7cried aloud in the wilderness by ,mr4 ,kipling7 that our age is as romantic as any other if we only know how to regard matters1 the fact will probably come as something of a surprise that the last decade of the nineteenth century has as surely its crop of 8suppressed plates10 as have those ages which were1 we choose to flatter ourselves1 more brutal than our own4 ,less unmannerly in some respects doubtless we tend to become1 and that perhaps is the very reason 7paradoxical though it may sound7 why we do not have to search in vain for 8modern instances40 ,for now that ,mrs4 ,grundy is sharper-eyed than she was 7notwithstanding her age71 and the libel laws are more closely knit by precedents1 slips which would have been treated as passing peccadilloes by our less squeamish forebears rise to the dignity of 8copy0 for the pressman1 and form staple conversation for the insatiate tea-table4 ,and when we mention the late most five-o'clock and kind-hearted of artists1 ,mr4 du ,maurier1 and #afc the still living most dainty limner of hoops and patches1 ,mr4 ,hugh ,thomson1 as the providers of century-end 8cancelled illustrations10 we may be sure that the details will not be very scandalous1 nor the outrages very shocking4 ,not but that ,i was forced to go somewhat warily when originally recording the famous incident of du ,maurier and the peccant illustration of the 8,two ,apprentices0 in ,trilby1 for was ,i not thereby involving myself with another1 and greater1 artist 7very much alive indeed671 whose pen was only not mightier than his pencil because the latter was unsurpassable1 but who might in turn pillory me in his gallery of artfully constructed ,enemies8 ,it was indeed a topsy-turvy world which found the 8,butterfly10 which is popularly supposed to end its life wriggling upon the pin of the 8soaring human boy10 revenging itself upon humanity with epigrams that 8stick for ever40 ,sad to relate1 ,whistler could never be brought to see du ,maurier's rather caustic 8retaliation10 particulars of which are given below1 in its proper proportions4 ,indeed1 when ,i asked him to allow me to reproduce1 as a pictorial curiosity1 the #afd suppressed print of the 8,two ,apprentices10 which only the owners of ,trilby1 as it appeared in serial form1 are now destined to possess1 he informed me in the politest manner possible that my doing so would involve me in an expensive and uncomfortable correspondence with his solicitors4 ,and what could not be done then cannot be done now1 for reasons into which ,i need not enter4 ,nevertheless1 to treat seriously a hyperbolical and exaggerated caricature as anything more than a legitimate response to a not altogether kindly sarcasm on the part of ,mr4 ,whistler himself1 appears to me now1 as it appeared to me then1 well-nigh incredible4 ,no one looked upon 8,joe ,sibley0 as a true likeness1 either pictorially or verbally4 ,it was written and read as a joke1 part true1 but mostly false1 and so would have stood had it not been given undue importance by the correspondence in the ,pall ,mall ,gazette4 ,as a result1 in book form 8,joe ,sibley0 is wanting in that delightful gallery which contains 8,durier10 ,pygmalion to ,trilby's ,galatea--a ,galatea whose marble heart would never beat for him2 8,vincent10 the great ,american oculist1 8whose daughters are #afe so beautiful and accomplished that they spend their autumn holiday in refusing the matrimonial offers of the ,british aristocracy02 8,the ,greek10 who was christened ,poluphoisboiospaleapologos ,petrilopetrolicoconose 8because his real name was thought much too long02 8,carnegie10 who 8is now only a rural dean1 and speaks the worst ,french ,i know1 and speaks it wherever and whenever he can02 8,antony1 the ,swiss0 7substituted for 8,joe ,sibley072 8,lorrimer10 who was so thoroughgoing in his worship of the immortals1 ,veronese1 ,tintoret and ,co41 and was 8so persistent in voicing it1 that he made them quite unpopular in the ,place ,st4 ,anatole des ,arts02 not to speak of 8,dodor0 and 8l',zouzou10 who were distinguished for being 8les plus mauvais garniments of their respective regiments10 and the rest of ,trilby's delightful adorers4 ,why1 it seems to me that to have obtained a niche in that pillory 7forgive the mixing of metaphors71 and to see the fun of a little exaggerated banter1 and perchance learn a little lesson from it1 would not be so very bad a fate after all4 ,but ,i suppose it all depends on the point of view4 #aff ,as ,i say1 ,i have by me a delightfully ironic missive from the late president of the ,society of the ,butterfly himself1 acknowledging 8the exceedingly amiable and flattering form of the playful request0 contained in my letter1 with a hint at the end that lawyers might look upon any reproduction of the forbidden matter as less than tolerable4 ,alas6 that it is so1 and all ,i can do is to refer my readers to the columns of the ,pall ,mall ,gazette for ,may #ae and #be1 #ahid1 in which appeared ,whistler's two letters1 and quote here the interview with du ,maurier upon the matter4 ,they form a curious commentary upon the 8,gentle ,art of ,losing--,friends40 ,extract from ,pall ,mall ,gazette1 ,may #ai1 #ahid4bi ,,mr4 ,,whistler ,,and ,,mr4 ,,du ,,maurier ,,the 8,,punch0 ,,artist',s ,,attitude ,mr4 ,george du ,maurier1 8hidden in ,hampstead0 as ,mr4 ,whistler put it in his letter to us a day or two ago1 was discovered by a ,pall ,mall ,gazette reporter without the aid of any exploring party yesterday1 when that representative called to see what the famous ,punch artist had to say in reply to ,mr4 ,whistler4 ,mr4 du ,maurier was not disposed at first to vouchsafe any answer4 8,if a bargee insults one #afg in the street10 he said1 8one can only pass on4 ,one cannot stop and argue it out40 ,but on second thoughts ,mr4 du ,maurier added a few words4 8,i should10 he said1 8have avoided all reference to ,mr4 ,whistler1 or anything which could have been construed into reference to him1 if ,i had imagined it would have pained him4 ,i should have written privately to him to say so1 if his letter had been less violent and less brutal4 ,certainly1 in the character of ,sibley1 in my serial story ,trilby ,i have drawn certain lines with ,mr4 ,whistler in my mind4 ,i thought that the reference to those matters would have recalled some of the good times we used to have in ,paris in the old days4 ,i thought that both with ,mr4 ,whistler and with other acquaintances ,i have similarly treated1 pleasurable recollections would have been awakened4 ,but he has taken the matter so terribly seriously4 ,it is so unlike him4 #bi ,by kind permission of the ,proprietor4 8,you know of no reason why he should not have taken it all good-naturedly80--8,no4 ,i thought it might have drawn from him something funny1 something droll1 to which ,i could have replied in kind4 ,but1 of course1 a letter like his puts a reply out of the question4 ,i think he must have been quite out of sorts to have allowed himself to get so angered40 8,i believe ,mr4 ,whistler has himself said things which the objects of them have not particularly relished60 8,why1 he has gone about all his life in ,england making unkind remarks and publishing them4 ,here is a little book of his1 ,the ,gentle ,art of making ,enemies1 and ,i am one of his victims4 ,it is not very terrible what he says4 ,it is rather droll4 ,listen6 #8,mr4 du ,maurier and ,mr4 ,wilde1 happening to meet in the rooms where ,mr4 ,whistler was #afh holding his first exhibition of ,venice jottings1 the latter brought the two face to face1 and1 taking each by the arm1 inquired1 8,i say1 which one of you two invented the other1 eh80' ,the obvious retort to that on my part would have been that if he did not take care ,i would invent him1 but he had slipped away before either of us could get a word out4 ,this is really too small a matter to refer to2 but the explanation of this bit of drollery of ,mr4 ,whistler's is that it suggested that ,i was unknown until ,i began to draw ,postlethwaite1 the sthetic character1 out of whom ,i got some fun4 ,postlethwaite was said to be ,mr4 ,oscar ,wilde1 but the character was founded1 not on one person at all1 but a whole school4 ,as a matter of fact1 ,i had been drawing for ,punch twenty years before the invention of ,postlethwaite4 ,however1 that was ,mr4 ,whistler's little joke1 and one would have thought that if he made jokes about me1 he might have expected me to play the same game upon him without anticipating that ,i should hurt his feelings4 ,then ,mr4 ,whistler implies that ,i am a foul friend1 stating that ,i have thought a foul friend a finer fellow than an open enemy4 ,i am neither his friend nor his enemy4 ,i am a great admirer of his genius and his wit2 but ,i cannot say that ,i could call myself his friend for thirty years past4 ,we were intimate in the old days1 but that is all4 ,no1 his whole letter is incomprehensible to me4 ,of course1 he has been embittered through life1 by reason of his genius not being recognised at its full value by the wide public1 and it certainly has not4 ,this circumstance1 and possibly illness1 may account for the leave he has taken of good manners4 ,he talks of my pent-up envy and malice4 ,i must ask you to believe that ,i am not #afi such a beast as that4 ,i have no occasion either for malice or for envy1 and1 as ,i say1 ,i should never have written even what ,i have1 had ,i imagined it would give ,mr4 ,whistler pain40 8,do you contemplate deleting the character of ,sibley when you publish in volume form80 8,if ,i had a word or sign of regret from ,mr4 ,whistler for the savage things he says in his letter ,i might consider that4 ,i did what ,i did in a playful spirit of retaliation for this little gibe about me in his book4 ,a man so sensitive as ,mr4 ,whistler now seems to be should beware how he goes about joking of others4 ,i had no idea of taking any notice of ,mr4 ,whistler's letter1 but since you have come and asked me ,i say that if ,i had known it would have given pain and brought such a torrent of abuse upon me1 ,i should have denied myself the little luxury of the playful retaliation in which ,i indulged40#cj #cj ,after reading ,mr4 ,menpes's ,whistler as ,i knew ,him1 one discovers that extraordinary phenomenon1 a man who would rather destroy a friendship by what he considered a brilliant phrase than sacrifice the brilliant phrase and preserve the friendship4 ,it is not wonderful that all ,whistler's friends did not prove so complaisant and generous as ,mr4 ,menpes4 ,let me then here put it on record that ,trilby in book form is not only innocent of 8,joe ,sibley0 and the 8cut0 of the 8,two ,apprentices0 but is in other respects far inferior to its serial issue4 ,the illustrations have been greatly reduced1 and in the process have lost much of their charm4 ,there was1 however1 a large-paper edition of the novel published in #ahie1 containing the same number of #agj illustrations as the small-paper1 together with 8facsimiles of the pencil studies40 ,this is the most desirable edition outside ,harper's4 ,the ideal form is1 of course1 the serial issue extracted from the ,magazine and bound up1 8,joe ,sibley10 the suppressed 8cut0 and all4 ,this1 then1 is all that must be said about the 8suppressed plate10 which is so rigidly put under hatches that it must not even be paraded1 on this occasion only1 with its fellows4 8,when the sleeper wakes10 perchance1 and copyright is out1 a cheap edition of this present volume1 with the suppressed block inserted1 will be published1 and our children's children will marvel4#ca #ca ,the curious should refer to a delightful open ,letter entitled ,trilby from ,mr4 ,whistler's pen1 which appeared in the initial number of ,mr4 ,harry ,furniss's late lamented ,lika ,joko4 ,the whole episode is a nice commentary upon ,mr4 ,george ,meredith's distinction between ,irony and ,humour4 8,if10 says he1 8instead of falling foul of the ridiculous person with a satiric rod1 to make him writhe and shriek aloud1 you prefer to sting him under a semi-caress1 by which he shall in his anguish be rendered dubious whether indeed anything has hurt him1 you are an engine of #aga ,irony40 ,but 8if you laugh all round him1 tumble him1 roll him about1 deal him a smack1 and drop a tear on him1 own his likeness to you and yours to your neighbour1 spare him as little as you shun him1 pity him as much as you expose1 it is a spirit of ,humour that is moving you40 ,in conclusion1 it may be interesting to record the fact that no communication passed between du ,maurier and ,whistler upon the subject1 other than that which appeared in print4 ,so much for the episode of the suppressed ,trilby illustration1 which1 as we have seen1 was complicated by personal considerations4 ,let us now turn our attention for a moment to a charming little tailpiece which has fallen a victim1 not to the susceptibilities of an individual1 but to an undue consideration for the feelings of that most living of ,tom ,morton's creations1 ,mrs4 ,grundy4 ,it is to be found in the first edition of the immortal ,vicar of ,wakefield as pictured by ,mr4 ,hugh ,thomson4 ,and in1 entering our protest against the deference which has in this instance been shown to prudishness1 we must at the same time admiringly recognise the spirit by #agb which the action has been prompted4 ,the 8young person0 no doubt succeeds on occasion in rendering us a little ridiculous4 ,at the same time we must not forget that to her we largely owe our immunity from what would often shock even the moral olfactories of her elders4 ,illustration3 ,suppressed ,illustration from ,the ,vicar of ,wakefield ,surely1 however1 the tender morals which could bear to read of ,thornhill's attempted seduction of ,olivia could not logically find offence in the #agc charming little conceit1 which by its suppression has rendered a first edition of the ,vicar1 as illustrated by ,mr4 ,hugh ,thomson1 an allurement to the modern ,mcenas4 ,unlike ,coaching ,days and ,coaching ,ways1 illustrated by the same artist1 after the first edition of which certain drawings also disappeared1 but without others being substituted in the later editions1 the first edition of the ,thomson ,vicar of ,wakefield1 dated #ahij1 which was published both on small and large paper1 contains the same number of illustrations as those which succeeded it4 ,this1 of course1 is because in this instance the type was not reset1 and so it was obligatory to substitute an illustration for that which was suppressed4 ,the tailpiece1 here reproduced by the kind permission of ,mr4 ,thomson and ,messrs4 ,macmillan1 only appears on page #ie of the issues of #ahij4 ,after that date we have a drawing which1 though a pretty enough little picture of ,lady ,blarney and ,miss ,carolina ,wilhelmina ,amelia ,skeggs 7,i love1 like the ,vicar himself1 to give the whole name71 is to my mind far inferior to that #agd which seems to have given offence to some extraordinarily constructed purists4 ,mr4 ,austin ,dobson1 to whom we are indebted for the enlightening ,prefatory account1 in this volume1 of the more important illustrated editions of the ,vicar1 tells me that he has an impression that the immediate cause of the disappearance of the peccant tailpiece was a certain objection raised by a reviewer in the ,spectator4 ,in justice1 however1 to that organ ,i must at once put it on record that ,i can find no trace of its having so demeaned itself4 ,as a matter of fact ,i have reason to believe that suggestions were made by certain persons who arrogate to themselves a sort of private proprietorship in the 8fine old ,english novel0 and the 8fine old ,english caricature0 that the little tailpiece was in rather bad taste1 and that the artist1 rather than allow the slightest grounds for such an imputation to exist1 hastened to remove the offender1 and substituted one that was irreproachable4 ,personally ,i grieve to think that there should be any one in existence with a moral digestion so dyspeptic as to discover the least coarseness or ill-flavour in #age this dainty little fancy1 ,and though the artist1 we may be sure1 has not troubled himself unduly about the insinuation1 ,i cannot but feel indignant that even a hint of indecorousness should be made against one who1 above all others1 has kept his pencil free from any taint of unworthiness4 ,however1 it is an ill wind that blows nobody any good1 and we are fain to congratulate ourselves upon thus being enabled to enrol ,mr4 ,hugh ,thomson in a brotherhood which he certainly will not repudiate4 ,passing allusion has been made above to certain illustrations which also disappeared from ,mr4 ,outram ,tristram's very readable book ,coaching ,days and ,coaching ,ways1 illustrated by ,mr4 ,hugh ,thomson and ,mr4 ,herbert ,railton1 after the first edition of that very charming volume was exhausted4 ,it had been my intention to reproduce these cancelled drawings here1 but ,i have since come to the conclusion that it would be little short of an outrage to perpetuate what would be cruelly unrepresentative of ,mr4 ,hugh ,thomson's work4 ,so far as the artist himself is concerned no obstacle is raised1 for he writes #agf to me in the most generous way1 8#8,calling for the ,squire's ,mailbag' was withdrawn for the same reason as #8,wild ,darrell' 7viz4 because it was not considered sufficiently good74 ,i should like to withdraw scores of other drawings4 ,however1 one cannot help oneself4 ,it is not very pleasant to have these reproduced again1 but ,i quite understand the motive of your book1 and should be very churlish indeed to put any obstacle in your way40 ,this seems to me so nobly altruistic an attitude that ,i feel ,i should be lacking in mannerliness were ,i to take advantage of it4 ,it will be enough merely to draw attention to facts which will be of interest to those who possess one or other of the editions of this book4 ,first and foremost then1 take down your copy and note whether the number of the illustrations is #baf or #bai4 ,happy as you are if you possess the latter1 twice happy will you be if the former be yours1 for in this case you will be the owner1 not only of a first edition1 not only of an edition containing the cancelled illustrations1 but also of the edition from which the best idea of the beauty of the original drawings may be got4 ,and for this #agg reason1 that in all but this1 the #ahhh edition1 the reproductions have been greatly reduced in size4 ,of course we are here concerned with the cancelled pictures1 8,wild ,darrell0 on page #dc and 8,calling for the ,squire's ,mailbag0 on page #caa1 but we must remember that their chief value lies in their being the guarantees of our having an editio princeps4 ,so we have it that in this instance as in the case of ,trilby the earliest issues have the double charm of satisfying at the same time our taste for the beautiful and our appetite for the curious4 ,unlike the case of ,trilby1 however1 we have here no romantic circumstances such as appeal to the true bibliomaniac4 ,the cancellation is merely the result of a laudable determination on the part of the artist and his publisher to eliminate such illustrations as they do not consider altogether exemplary4 ,incidentally of course their action enhances1 in the eyes of the bibliomaniac1 the value of those copies which they rightly consider marred by their inclusion4 ,but this is no business of theirs4 ,they are not concerned with diseased humanity but with the poor sane public for whom they cater4 #agh ,the above remarks apply of course to many minor suppressions of the same kind4 ,there is1 to take one example1 the well-known case of ,curmer's #ahch edition of ,paul et ,virginie and ,la ,chaumire ,indienne superbly illustrated by ,meissonier1 ,tony ,johannot1 ,huet1 and others4 ,this book is a standing compliment to ,british wood-engraving of the day1 for1 though published in ,paris by a ,french publisher1 by far the larger number of the blocks were entrusted to ,samuel ,williams1 ,orrin ,smith1 and other ,british hands4 ,in the earliest issue appears on page #dah the wood-engraving of 8,la ,bonne ,femme40 ,engraved by ,lavoignat after ,meissonier it was suppressed in later issues probably because of its ugliness1 whether the fault of artist or engraver ,i know not4 ,at any rate the engraver was not one of the ,british contingent4 #agi ,,chapter ,,ix ,,the ,,suppressed ,,omar ,,khayyam ,,etching ,when the iconography of ,edward ,fitz,gerald's ,ruba'iyat of ,omar ,khayyam comes to be compiled1 there will be one item which will be found to be well-nigh unattainable by the enthusiastic collector4 ,that item is not unnaturally dismissed in a very few words by ,colonel ,w4 ,f4 ,prideaux in his 8,notes for a ,bibliography of ,edward ,fitz,gerald40 ,he is dealing with the third edition1 published by ,quaritch in the year #ahgb4 8,it may be added10 he writes1 8that a weird frontispiece to this edition was designed and etched by ,mr4 ,edwin ,edwards1 the artist friend to whom ,fitz,gerald lent his house at the beginning of #ahga1 and whose death in #ahgi was a source of sorrow to him4 ,a few copies of the etching were struck off1 but it did not meet with the #ahj approval of ,fitz,gerald1 and was consequently never used40 ,now1 ,i am inclined to think that this1 as ,i believe1 the only published reference to an interesting rarity1 will hardly satisfy the craving of the ,fitz,gerald enthusiast4 ,i shall therefore give the fullest information on the subject1 whereby the modern ,mcenas will be afforded full particulars of what only a few of the cult of ,omar can ever hope to possess4 ,those who know their ,ruba'iyat as they should will remember that there are several allusions made by the philosopher to the amusements of his countrymen4 ,take the ,fitz,gerald quatrain3-- 8,when you and ,i behind the veil are passed1 ,oh1 but the long1 long while the world shall last1 ,which of our ,coming and ,departure heeds ,as the ,sea's self should heed a pebble cast40 ,here1 in the last line1 we have what is probably an allusion to the game of 8,ducks and ,drakes10 8which10 says ,mr4 ,edward ,heron-,allen in the notes to his admirable translation1 8was known to the ,egyptians and also to the ,greeks under the #aha name of 4 ,it was played with oyster-shells4 ,the curious are referred to ,minutius ,felix 7,a4,d4 #bjg71 who describes the game in his preface40 ,this last is a gentleman with whose name ,i am free to confess ,i have hitherto been unfamiliar1 and to whose writings ,i have no access4 ,i must therefore leave the enthusiastic reader to follow up the clue for himself4 ,however1 with the aid of ,liddell and ,scott1 ,i find myself able to go one better than ,mr4 ,heron-,allen1 and would refer the reader to ,archologus ,pollux1 the author of ,onomastikon1 whose date is prior to ,felix by twenty-nine years6 ,another game which we find ,omar ,khayyam alluding to is that of chequers1 which is familiar to us in ,fitz,gerald's oft-quoted quatrain3-- 8,but helpless pieces of the game he plays ,upon this ,chequer-board of ,nights and ,days2 ,hither and thither moves1 and checks and slays1 ,and one by one back in the ,closet lays02 altered in the later edition to3-- 8',tis all a ,chequer-board of ,nights and ,days1 ,where ,destiny with ,men for ,pieces plays2 ,hither and thither moves1 and mates1 and slays ,and one by one back in the ,closet lays40 #ahb ,again we have allusion to what is probably some form of the game of tennis in the following3-- 8,the ,ball no question makes of ,ayes and ,noes ,but ,right or ,left as strikes the ,player goes1 ,and ,he that tossed ,thee down into the ,field ,he knows about it all--,,he knows--,,he knows40 ,other passages might be quoted1 but these are enough for our purpose1 for the form of amusement with which we have immediately to concern ourselves is rather a toy than a game--a toy indeed which would seem to have been the forerunner of a somewhat elaborate apparatus which1 being used at first for more frivolous purposes1 has now been largely adapted to educational ends4 ,the ,magic ,lantern of modern times is generally referred back to ,athanasius ,kircher1 who died in #afhj1 although1 according to some1 it was known four centuries earlier to ,roger ,bacon4 ,this may be true enough so far as the 8projecting lantern0 is concerned1 but it can hardly be doubted that it had in the line of its earlier ancestors the ,persian ,fanus i ,khiyal or ,lantern of ,fancy1 which is used with such effect by the ,philosopher of ,naishpur1 and which instigated the design of the #ahc rare suppressed etching of which ,i here propose to treat with some particularity4 ,as literally translated by ,mr4 ,heron-,allen1 the quatrain referring thereto runs as follows3-- 8,this vault of heaven1 beneath which we stand bewildered1 ,we know to be a sort of magic-lantern2 ,know thou that the sun is the lamp flame and the universe is the lamp1 ,we are like figures that revolve in it40 ,as literally translated by ,mr4 ,john ,payne it run3--8,this sphere of the firmament1 wherein we are amazed1 ,the ,chinese lantern ,i think a likeness of it2 ,the sun the lamp-stand and the world the lantern2 ,we like the figures are that in it revolve40 ,as metrically translated by him into a throwback quatrain it runs3-- 8,the ,sphere and mankind1 who therein in amaze are1 ,chinese-lantern like1 well it may seem1 to our gaze are2 ,see1 the sun is the lamp and the world is the lantern ,and the figures ourselves1 that revolve round the blaze are40 ,as rendered by ,fitz,gerald more literally than is his wont it ran in its first state as follows3-- 8,for1 in and out1 above1 below1 ',tis nothing but a ,magic ,shadow-show1 ,play'd in a box whose ,candle is the ,sun ,round which we ,phantom ,figures come and go40 #ahd ,as altered later1 it assumed the following more familiar form3-- 8,we are no other than a moving row ,of ,magic-,shadow shapes that come and go ,round with the ,sun-illumin'd ,lantern held ,in ,midnight by the ,master of the ,show40 ,all who have read the published letters of ,edward ,fitz,gerald will have been struck by the infinite pains which he took to make this highest effort of his genius1 the translation of ,omar1 as perfect as possible4 ,his correspondence with his friend ,professor ,cowell teems with allusions to1 and innumerable discussions on1 minute points of meaning in the ,persian4 ,therefore it will not surprise us to find that the figure of the ,fanus i ,khiyal 7literally the lanthorn#cb of fancy71 here made use of in so masterly a manner1 had its characteristics and peculiarities carefully considered4 #cb ,it is a not uninteresting fact that the old ,english spelling of the word 8lantern0 used above is due to the mistaken association of the word with the plates of transparent horn formerly used in place of glass4 ,by the kindness of ,mrs4 ,edwin ,edwards and the late ,professor ,cowell1 ,i am enabled to give extracts from an unpublished letter written by the #ahe latter to ,fitz,gerald in the year #ahfh1 dealing somewhat exhaustively with the matter4 ,this letter appears to have been forwarded by ,fitz,gerald to ,edwin ,edwards1 the artist1 by way of inspiration for an etched frontispiece to the edition of ,the ,ruba'iyat which was to be published by ,quaritch in #ahga1 not1 ,i think1 in #ahgb1 as ,colonel ,prideaux has it4 ,from ,professor ,cowell to ,edward ,fitz,gerald4 ,,my ,,dear ,e4 ,f4 ,g4--,i have sent off one letter to you to-day1 but ,i did not answer a question of yours in it1 after all1 which you remind me of in your letter just received by this evening's post4 ,first as to the famous ,fanus i ,khiyal--you will find it explained in a note by the editor at the end of my ,calcutta ,review ,paper4 ,i have often seen them in ,calcutta4 ,the lantern is about a foot and a half high--and nearly a foot in diameter1 and it moves round with a slow and slightly vibratory motion4 ,the candle is placed inside1 and the draught sends it round4 ,the editor in his note explains how the draught is produced3--,they are made of a talc#cc cylinder with figures of men and animals cut out of paper and pasted on it4 ,the cylinder1 which is very light1 is suspended on an axis1 round which it easily turns4 ,a hole #ahf is cut near the bottom1 and the part cut out is fixed at an angle to the cylinder so as to form a vane4 ,when a small lamp or candle is placed inside1 a current of air is produced which keeps the cylinder slowly revolving4 7,here is a small drawing47 ,i cannot recollect how it was suspended1 the reviewer says1 8on an axis40 ,i think it was hung by a string from the top over a candle4 ,i remember seeing it go round one evening in our dining-room--the ,khnsamah brought one to show me4 4 4 4 ,nicolas's ,fanus#cd is more elaborate than our ,calcutta one1 but on the same principle4 ,he says the figures move round from right to left or vice versa--as may be4 ,his fanal#ce is like mine1 only it has a metal top and bottom--the cylindrical sides being of waxed cloth and painted2 it has a handle fixed on the top which the man holds2 the candle is placed inside on the metal floor4 4 4 4 7,here is another small drawing47 4 4 4 ,yours affectionately1 ,,edw4 ,b4 ,,cowell4 ,,cambridge1 ,january #af1 #ahfh4 #cc ,this word is curiously enough misprinted 8tall0 in both ,nichols' and ,quaritch's editions of ,mr4 ,heron-,allen's book1 whilst in the note to ,professor ,cowell's article it is printed 8tale40 ,it is something of a record1 ,i should think1 to find so many compositors and readers all at fault4 #cd ,professor ,cowell here refers to ,j4 ,b4 ,nicolas1 author of a ,french translation of ,omar1 published at ,paris1 #ahfg4 ,in a note to ,les quatrains de ,khyam traduit du ,persan1 he says3 8,in ,persia the lantern is made of two copper basins1 separated by a shade of waxed calico about a yard high4 ,the lower one contains the candle1 and the upper one has a handle for the arm of the ferrsh who carries it4 ,the shade is folded like the familiar #8,chinese lantern4' ,ornaments are painted on the cloth1 and it is to the vacillation of these1 as the carrier shifts it from one hand to another1 that ,omar refers40 #ce ,qy43 ,has this ,french word for lantern the same root as ,fanus8 #ahg ,the letter was illustrated with two rough drawings of the ,fanus for ,fitz,gerald's guidance4 ,the last of them represented the toy held out by a truncated arm4 ,edwin ,edwards1 to whom the letter was forwarded1 at once with true artistic instinct caught at the suggestion unintentionally conveyed1 and1 as will be seen from the etching here reproduced1 accentuated the hidden presence of the 8,master of the ,show10 by making the arm which holds suspended this 8,sun-illumined ,lantern0 of a world issue from the impenetrable darkness which hides its mysterious lord4 ,unfortunately1 the ,fanus is not etched with great success1 although the artist made a special visit to the old ,india ,museum1 now dispersed1 to study an example there on exhibition4 ,had the etching equalled the conception1 the design could hardly have failed to satisfy even ,fitz,gerald's fastidious requirements4 ,as it was1 only a limited number#cf of proofs 7from twenty to twenty-five7 were printed by that cleverest printer of etchings1 ,mrs4 ,edwin ,edwards1 and the plate destroyed4 ,hence their rarity4 #ahh #cf ,at least six of these have lately gone to ,america where they were feverishly bought up by enthusiastic ,omarians4 ,the conception is a really fine one1 and might well have proved an illustration of the text in the best sense of that much-abused term1 being1 as it is1 a very different thing from a mere translation of the words into pictorial form4 ,it is far more than this4 ,it is an illuminator of the meaning1 and accentuates its spiritual significance4 ,this is what illustration should do1 but rarely does do1 in these days of rapid and perfunctory production4 ,of ,edwin ,edwards the artist ,i should like to take this opportunity of saying a word4 ,his name is little known outside artistic circles1 and it would be somewhat unfair to advertise it in connection with an etched plate which failed to give satisfaction without at the same time making allusion to pictorial work which was successful and meritorious4 ,that he did produce work of real value is evident from the fact that one of his oil pictures of the ,thames hangs at the ,luxembourg in the ,salle des trangers 7for he was always more appreciated in ,france than in ,england71 and that two years ago another canvas1 and that hardly one of the best examples of his #ahi work1 was chosen by ,sir ,edward ,poynter to be well hung in the ,tate ,gallery4 ,illustration3 ,the suppressed frontispiece ,for 8,omar ,khayyam40 7,by ,edwin ,edwards7 ,it may also be mentioned that high appreciation of his talents has been shown across the ,channel by eulogistic articles in the ,gazette des ,beaux ,arts1 ,les ,beaux ,arts ,illustrs1 ,la ,vie ,moderne1 ,l',art1 etc41 etc4 ,it is1 however1 on his work as an etcher that his reputation must chiefly rest1 and it would be more than unjust to allow the artist who produced such a tour de force as the great etching of 8,london from the ,greenwich ,observatory10 to mention only one of his three hundred and seventy-one works in this medium1 to be advertised by an etching1 finely conceived it is true1 but unsatisfactorily carried to an issue4 ,not that these facts will in any way affect the thoroughgoing rarity-hunter in his estimate of the suppressed plate here described4 ,it will be enough for him to know that not more than a quarter of a hundred of his rivals can own a proof of the etching to make him ready to sell his last shirt for its acquisition4 ,he will continue to value a print for its rarity rather than for its beauty1 #aij a book for its height in millimetres rather than for its depth in thought4 ,no doubt these be hard words4 ,then why1 it will be asked1 pander to so foolish a passion8 ,shall ,i confess8 ,yes1 indeed1 and glory in the confession that ,i1 too1 am of the gentle brotherhood1 that ,i1 too1 am a subscriber to ,the ,connoisseur 7or 8,the ,connoyzer10 as one of my friends at ,mr4 ,w4 ,h4 ,smith's bookstall used to call that delightful publication71 that ,i1 too1--in fine1 that ,i am1 by the favour of ,fortune1 the happy possessor of two proofs of the suppressed etching to the ,omar of #ahgb6 ,and now just one word with that gentle hunter1 ,mr4 ,thomas ,b4 ,mosher of ,portland1 ,maine1 ,u4,s4,a41 who did me the honour of transferring a large portion of the above1 originally written for ,the ,bookman1 to the pages of his beautiful #aijb edition of ,the ,ruba'iyat4 ,of that ,i make no complaint1 for ,i think it very probable that he asked and obtained my permission4 ,what ,i do complain of is that1 in a footnote1 he falls foul of me for being 8ungracious0 to ,colonel ,prideaux in suggesting the date #ahga as the year of publication of the #aia third edition1 instead of the year #ahgb1 as ,colonel ,prideaux has it in his most valuable little 8,notes for a ,bibliography of ,edward ,fitz,gerald0 #aija4 ,mr4 ,mosher says 8no manner of doubt exists as to the date40 ,let me tell him that ,i have it on the authority of one who was on intimate terms both with ,fitz,gerald and ,edwin ,edwards at the time when this third edition was published that1 though the book bore the date #ahgb on the title1 as a matter of fact it was published in the autumn of #ahga and post-dated4 ,if it be 8ungracious0 to give ,colonel ,prideaux a piece of information which he had not the opportunity of obtaining for himself1 then ,i sincerely hope that all who read this volume1 and find themselves better informed1 as well they may1 than ,i am1 will be equally 8ungracious0 to me4 ,la plupart des hommes n'ont pas le courage de corriger les autres1 parcequ'ils n'ont pas le courage de souffrir qu'on les corrige4 #aib ,,chapter ,x ,,adapted ,,or ,,palimpsest ,,plates 8,god bless the ,king1 ,i mean the faith's defender1 ,god bless--no harm in blessing--the ,pretender4 ,who that ,pretender is1 and who is ,king-- ,god bless us all6--that's quite another thing40 ,so sang the old ,jacobite ,john ,byrom1 and1 taking my cue from him1 ,i do not propose to enter here into the vexed question of ,james ,francis ,edward ,stuart's claim to this or that title4#cg ,it is merely a happy accident that lends me so picturesque a figure round which to group certain pictorial rarities1 germane to our subject1 of which little is known1 and of which the petit-matre will be therefore grateful for some particulars4 #cg ,it may be mentioned that ,jesse1 in his ,memoirs of the ,pretenders1 always calls him ,james ,frederick4 ,the history of the engraved copperplate is full of that kind of romance which peculiarly #aic commends itself to the lover of what is quaint and curious in the byways of art1 and perhaps the most romantic phase of its history is that with which ,i am about to deal4 ,it is the sort of romance which was inseparable from what may be called the pre-machinery days1 and is as foreign to the spirit of this age as are the slashed doublets of our forefathers or the starched irrelevances of their wives4 ,it may be1 of course1 that the ,process block of to-day will be found to be as full of romance to-morrow4 ,indeed we have already found some indications of this in a former chapter1 and it is probably true that romance is as all-pervading in the mental as ether is in the physical world1 and that it is only lack of the proper intellectual reagent that makes the discovery of it difficult4 ,however that may be1 one thing is certain1 that most of us find it easier to come at the 8poetry of circumstance0 when centuries or decades have left it behind than when it is at our immediate threshold4 ,in these days of lightning pictorial satire1 when ,monday's political move is on ,tuesday served up #aid in genial topsy-turvy by 8,f4 ,c4 ,g40 in the ,westminster or 8,g4 ,r4 ,h40 in the ,pall ,mall1 and when ,punch's weekly cartoon is voted seven days late by the ,man in the ,street1 it is difficult for us to realise the shifts to which political satire was put when the laborious engraved or etched broadside was the quickest method of getting at the picture-loving masses4 ,just imagine the agony of impatience of the political satirist who had designed his broadside and had to await the tardy engraving of the copperplate1 to be followed by the deliberate hand-printing and hand-painting of the impressions before they could be published1 perhaps only to find in the end that the nine-days' wonder was past1 or that events had blunted his most telling points4 ,so1 too1 when satirist was employed against satirist1 how hopeless it seemed for retaliation to follow swiftly enough upon the occasion to make any retort in kind worth while at all4 ,then it was that the wit of man1 quickened by necessity1 conceived the clever stratagem of the adapted copperplate1 of which it is here my purpose to give some remarkable examples4 #aie ,i fancy ,i see the victim of some shrewder libel than usual1 with which the town has been flooded1 pricking off in hot haste to the pictorial satirist in his pay1 and demanding the production of a trenchant and immediate reply1 so that the retort may be in the printsellers' windows before the attack has had time to do its deadly work4 ,the satirist names a month as the earliest possible date4 ,his employer curses him for a blundering slowcoach4 ,before a month is out the mischief will be done beyond repairing4 ,and he is flinging himself out of the workshop when a happy thought comes with a flash into his head4 ,how about the copperplate of that broadside which fell so flat a year ago because of its tardiness8 ,it was meant to be a counter-thrust to just such another attack as this1 but it was a month too late4 ,is there no way of fitting a new barb on to the old arrow8 ,is there no way of adapting the year-old weapon to the present necessity8 ,and then there follows anxious discussion and careful examination4 ,the head of ,a4 burnished out here can be re-engraved in the similitude of ,b4 #aif ,c4 will stand as he is and do duty1 with a new index number and altered footnote1 for ,d4 ,here an inappropriate object can be replaced by a panel of appropriate verse4 ,the inscriptions on the banderoles issuing from the characters' mouths must be altered4 ,and1 hey presto6 in the twinkling of a bedpost we have our answer ready for a not too critical public4 ,the original lampooner1 who counted on a good month's start1 will be confronted with a retort before he has time to turn round4 ,the whole town will be set buzzing about the successful ruse1 and the laugh will be turned upon the aggressor4 ,of course it would be comparatively rarely that the adapted plate could be wholly apropos1 but such capital ingenuity was exercised1 once the stratagem had been imagined1 that the practice was not so uncommon nor so unsuccessful as might be naturally expected4 ,in this chapter ,i am only treating of those dealing with one particular episode1 but ,i have in my possession at least thirty of these remarkable productions4 ,from them we find that it was not always the engraver of a plate who re-adjusted his own #aig handiwork1 but piratical hands were sometimes laid upon the work of a master by mere journeymen engravers who did not scruple to leave the original artist's name for the better selling of the plate1 although it had ceased to represent even in the remotest degree his sentiments or intentions4 ,indeed1 ,i could tell of at least one remarkable plate originally prepared in honour of a certain great personage1 which1 being thievishly appropriated by his opponents1 was by them so judiciously metamorphosed as to cover him with as much confusion as it had originally panoplied him with honour4#ch #ch ,mozley1 in his entertaining ,reminiscences1 tells the following story of the latter days of the ,oxford ,movement1 which is somewhat parallel3 8,isaac ,williams published a volume of poetry called ,the ,baptistry1 upon a series of curious and very beautiful engravings1 by ,boetius a ,bolswert1 in an old ,latin work1 entitled ,via ,vit tern4 ,in these pictures1 besides other things peculiar to the ,roman ,church1 there frequently occurs the figure of the ,virgin ,mother1 crowned and in glory1 the object of worship1 and distributing the gifts of ,heaven4 ,for this figure ,williams substituted the ,church1 and thereby incurred a protest from ,newman for adopting a ,roman ,catholic work just so far as suited his own purpose1 without caring for the further responsibilities40 ,this is1 ,i believe1 the first time that any attempt has been made to bring this fascinating subject before the public4 ,incidentally it has #aih been touched upon once or twice in publications of my own as it affected other byways in art1 and has been alluded to in the ,introductions to the ,catalogue of ,prints and ,drawings in the ,british ,museum 7,satires71 prepared under the direction of the late ,keeper of the ,prints and ,drawings1 ,george ,william ,reid1 by ,f4 ,g4 ,stephens1 to which monumental work all students of such subjects are profoundly indebted4 ,but it has never been treated with anything approaching the completeness that it deserves4 ,it is practically an unworked phase of print-collecting--a new craze in which the dilettante may specialise4 ,as ,i have said1 we are fortunate in having in this place so picturesque a figure as that of the ,old ,pretender1 or the ,chevalier de ,st4 ,george1 as some like to call him1 round whom to group our first batch of these pictorial palimpsests4 ,james ,francis ,edward ,stuart was1 as all who know their history will remember1 the son of ,james ,,ii4 by his second wife1 ,mary of ,modena4 ,he was born on ,june #aj1 #afhh1 at ,st ,james's ,palace4 ,james ,,ii4 was then in his fifty-fifth year4 ,by #aii his cruelties after ,monmouth's rebellion1 by his attack on the ,universities1 by the ,trial of the ,seven ,bishops1 by his ,court of ,commissioners of ,ecclesiastical ,causes1 and by his misuse of the ,dispensing ,power he had alienated the whole nation1 with the exception of a few ,roman ,catholics and hangers-on of the ,court1 and his throne was tottering4 ,the only element of strength in his position was the certainty that sooner or later the crown was bound to pass to one of the ,protestant daughters of his first marriage2 for though the present ,queen had borne him four or five children they had all died young4 ,it was now six years since there had been any hint of a royal birth4 ,what were probably grossly exaggerated accounts of the ,king's early irregularities were matter of common gossip1 and the ,queen's health was far from robust4 ,suddenly1 at a most opportune moment for the ,roman ,catholics--so opportune a moment indeed that intrigue at once suggested itself--it was announced to the world that ,mary was with child1 and a day of thanksgiving was appointed five months before the ,queen's delivery4 #bjj ,now was the occasion for reviving a report which had been sedulously spread by the enemies of the ,court from the very earliest days of the ,queen's marriage--that the ,king1 in order to transmit his dominions and his bigotry to a ,roman ,catholic heir1 had determined to impose a surreptitious offspring on his ,protestant subjects4 ,in due course came her ,majesty's lying-in at ,st4 ,james's1 and although the ,king took every precaution1 by the solemn depositions of forty-two persons of rank who were present1 against questions arising as to the child's identity1 the celebrated 8warming-pan0 story was hatched1 which continued to gain credence for more than half a century4 ,nor were circumstantial details of the most intimate nature in support of the lie wanting4 ,during the labour1 it was maintained1 the curtains of the bed were drawn more closely than usual on such occasions2 neither the ,princess of ,orange1 the nearest ,protestant heir to the throne1 nor her immediate adherents were asked to be in attendance2 an apartment had been selected for the ,queen's accommodation in which there was a door near the head of the bed which opened on a back #bja staircase4 ,though the weather was hot1 and the room heated by the great crowd of persons present1 a warming-pan was introduced into the bed2 and finally the pan contained a new-born child1 which was immediately afterwards presented to the bystanders as the offspring of the ,queen6 ,the following song1 sung by two gentlemen at the ,maypole in the ,strand1 is sufficiently explanatory3 8,as ,i went by ,st4 ,james's ,i heard a bird sing1 ,that the ,queen had for certain a boy for a ,king2 ,but one of the soldiers did laugh and did say1 ,it was born overnight and brought forth the next day4 ,this bantling was heard at ,st4 ,james's to squall1 ,which made the ,queen make so much haste from ,whitehall40 ,the last line referred to the fact that the ,queen had played at cards at ,whitehall ,palace till eleven o'clock on ,saturday1 ,june #i1 whence she was carried in a chair to ,st4 ,james's ,palace1 and on the ,sunday1 ,june #aj1 between the hours of nine and ten in the morning1 8was brought to bed of a prince40 ,it is a remarkable fact says ,jesse that as early as #afhb 7six years before this71 when the ,queen1 then ,duchess of ,york1 was declared to be pregnant1 the same rumours were #bjb propagated as on the present occasion--that an imposture was intended to be obtruded upon the nation4 ,fortunately on that occasion the infant proved to be a female1 or doubtless some improbable fiction would have been invented similar to that which obtained credit in #afhh4 ,undoubtedly the whole thing was a lie1 but it did its deadly work4#ci ,the whole nation was prepared to accept the flimsiest evidence1 and within six months father1 mother1 and child had fled to ,france4 #ci ,certain imprudent ,roman ,catholics gave colour to the popular belief by loudly expressing their opinion that a miracle had been wrought4 ,one fanatic had even gone so far as to prophesy that the ,queen would give birth to twins1 of whom the elder would be ,king of ,england and the younger ,pope of ,rome6 ,so much for the story that inspired the remarkable broadsides with which it is here our purpose to deal4 ,it will be noticed that these broadsides are all ,dutch in their origin1 a fact that is not surprising when we remember that they formed part of the propagandum which was soon to land ,william of ,orange1 the husband of ,james's eldest daughter1 on the throne of ,england4 ,the first that we reproduce is entitled 8,l',europe ,alarme pour le ,fils d'un ,meunier40 ,the artist is that remarkably clever ,dutchman1 #bjc ,romeyn de ,hooghe1 whose delicate and facile handling of the point is well exemplified in the seascape at the back of the picture4 ,let us examine in detail the most important features of this elaborate broadside4 ,the centre of attraction is1 of course1 the surreptitious infant ,prince of ,wales1 who lies in his cradle to the left of the picture4 ,those assembled about him are discussing the possibility of the plot having been discovered4 ,on his coverlet are various playthings1 amongst which is conspicuous a toy mill1 emphasising1 of course1 the generally accepted belief that he was the son of a miller1 for1 in their lying1 ,james's enemies were nothing if not circumstantial4 ,this allusive toy figures in almost all the satiric prints dealing with the ,old ,pretender4 ,at the foot of the cradle1 which is decorated with an owl1 an owlet1 and a snake 7emblems of evil71 is a pap-bowl and spoon1 half concealed by the arm of 8the first mother0#dj 7#a7 #bjd who seems to be pointing out to ,father ,petre 7#b71 the instigator of the plot1 that the child has been born too old4 ,the ,father1 whose intimacy with the lady is suggested by a tender fondling of her right hand with his left1 fingers his rosary with the other1 and gazes fixedly into her eyes4 #dj ,it is not easy to decide which of the female figures is intended to represent ,mary of ,modena and which the miller's wife4 ,at first sight one would expect the ,queen to be represented by the central figure #c1 but1 on the other hand1 ,i have in my possession a very rare mezzotint of the period which represents ,father ,petre and the ,queen in almost identical attitudes as figures #a and #b in the present plate4 ,this view of the matter is supported by the following scandalous verse of the day3 ,some priests1 they say1 crept nigh her honour1 ,and sprinkled some good holy water upon her1 ,which made her conceive of what has undone her4 ,edward ,petre was one of the best-hated men in the country1 and was popularly looked upon as ,james's evil genius4 ,the ,king would have made him ,archbishop of ,york1 but the ,pope refused his dispensation4 ,in the year preceding the production of this satire he had been made a ,privy ,councillor4 ,illustration3 8,l',europe alarme pour le ,fils d'un ,meunier40 7,the plate in its first state7 ,illustration3 ,the plate in its second state1 now entitled 8,la ,cour ,de ,paix solitaire1 entre les ,roses piquantes et les ,lis0 ,in the middle of the picture sits the 8second mother0 7#c7 in a highly-wrought chair1 round the legs of which twine carved serpents4 ,tears course down her cheeks4 ,with her right hand she points to the cradle as she listens to the counsels of the papal nuncio ,count ,ferdinand d',adda 7#d71 who1 with armour peeping from under #bje his robes and with his armoured foot treading on his naked weapon1 recommends submission of the whole matter to the arbitrament of the sword4 ,immediately beyond the ,cardinal stands ,louis ,,xiv4 7#e71 ,james's faithful ally4 ,in one hand he carries a bag of money1 referring1 doubtless1 to his offer of five hundred thousand livres for the equipment of an ,english fleet to oppose the ,prince of ,orange's threatened invasion2 with the other he exposes to view a list of his army4 ,behind1 and to the right of ,cardinal d',adda1 ,louis' son1 the ,dauphin of ,france1 makes as though he would draw his sword1 whilst the ,pope 7,innocent ,,xi471 in shadow at the extreme right of the picture 7#g1 the number is very indistinctly seen on the dark clothing7 grasps the keys of ,st4 ,peter1 and would seem to be sarcastically doubtful of the whole affair4 8,the ,pope10 says ,voltaire1 8founded very little hopes on the proceedings of ,james1 and constantly refused ,petre a cardinal's hat40 ,beyond the ,pope is seen the armoured figure of ,leopold ,i4 7#h71 with the ,german eagle on his helmet4 ,with his right hand he grasps his #bjf sword-hilt2 with his left he gesticulates as though reminding the war party that he also has to be reckoned with4 ,no4 #i ,i cannot identify4 ,behind ,mary of ,modena's chair stands 7#ac1 the figure is on her breast7 ,catherine of ,braganza1 the childless wife of ,charles ,,ii4 ,she is doubtless lamenting that1 when residing at ,whitehall1 she had not herself manufactured a prince on the ,modena plan4 ,next to her 7#aa1 the figure is on the pillar7 a doctor of the ,sorbonne promises them all dispensations--a hit at ,james's well-known misuse of the dispensing powers4 ,next to him1 with his right hand convulsively grasping a roll of charters1 stands ,james himself 7#aj74 ,in his left he carries parliamentary and corporation papers4 ,with despairing eyes he gazes at the baby who1 so far from giving1 as he had fondly hoped1 the finishing touch to the ,roman ,catholic triumph in ,england1 is likely to prove the most damning count in the country's indictment of his iniquities and treasons4 ,to the left the midwife 7#ab7 encourages him to proceed with the imposture4 ,below her two monks 7#ad and #ae71 greatly alarmed1 pray aloud at the head of the cradle4 #bjg ,immediately behind them two heralds1 one mounted on an ass1 blow on trumpets to call attention to the ,dutch fleet1 which is seen approaching through the right-hand arch1 whilst through the left a fort is seen belching forth smoke and resisting the landing of the longboats4 ,in the left corner of the picture certain ,quakers 7#ag1 #ah1 #ai71 whose curious friendship with ,james must not be forgotten1 deprecate the priests' blasphemies1 whilst beyond them a crowd of ,irish papists is suggested by their waving symbols and a torn flag embroidered with the sacred monogram4 ,behind the ,quakers an oriental-looking person scans the heavens through a telescope4 ,the colonnade beneath which all this takes place has its pillars surmounted by owls and a demoniacal bat4 ,the arches are inscribed with the words 8,het word hier nacht10 and other inscriptions are seen on the walls4 ,on the extreme right of the picture is reared a banner bearing what appear to be the words 8,in utrumque ,turgam10 of which it is difficult to imagine the meaning4 8,in utramque ,furcam10 which would be intelligible1 has been suggested to me as an #bjh alternative reading1 but cannot1 ,i think1 be accepted4 ,another friend hazards 8,in utrumque 7modum7 resurgam10 which may be freely translated1 8,i shall be #8dormy' either way10 and would certainly make sense4 ,farther than that ,i cannot go with him4 ,so much for the first state of this elaborate copperplate which did its part in propagating the lie which went far to lose for ,james ,,ii4 the crown of ,england4 ,after having served this purpose the plate was laid aside for nearly a quarter of a century4 ,during this period the throne of ,england had been occupied by ,james ,,ii4's two daughters1 ,mary and ,anne1 to the exclusion of their father1 who died in exile in #agja1 and of the ,chevalier de ,st4 ,george1 whose proclamation by ,louis of ,france as ,james ,,iii4 of ,england#da had been followed by the war of the ,spanish ,succession4 #da ,in the ,stuart ,room at ,madresfield ,court ,lord ,beauchamp lately showed me a portrait of the ,chevalier1 labelled 8,james ,,iii406 ,in #agac1 just twenty-four years after the plate had been engraved1 the ,peace of ,utrecht1 so vitally important as marking the beginning of #bji ,england's commercial prosperity1 was signed between ,england and ,france4 ,amongst other things it secured the ,protestant ,succession to the throne of ,england through the ,house of ,hanover1 and the dismissal of the ,chevalier from ,france4 ,the suspension of arms between the ,english and the ,french which preceded the signing of the treaty was seized upon as the opportunity for resuscitating the plate and adapting3 it to the altered circumstances4 ,now did some pictorial vandal wrench and twist the figures to new and undreamt-of uses and turn the ,council of ,war of #afhh into the ,court of ,peace between the ,roses and ,lilies of #agab6 ,the plate now professes to be published in ,london1 though1 from the fact that the publication line runs4 8,a ,londres chez ,turner10 and from sundry misspellings1 it would appear certain that the alterations on the plate were effected abroad4 ,in this second state the plate has been reduced at the top as far as the capitals of the pillars1 and at the bottom as far as the left foot of the figure which represented ,father ,petre in the original4 ,the index figures have also been changed4 #baj ,the explanation of the design as it now stands is contained in eighty-three lines of doggerel ,french verse4 ,taking the alterations one by one we find in the first place that the infant and cradle have been bodily removed1 and 7#a7 the 8,plan de ,paix0 substituted4 ,it bears the legend 8,vrede tussen het ,lelien en ,roosen hof4 ,paix entre les ,lis et les ,roses picantes40 ,the central figure 7#b7 of the picture is now changed into an allegorical personage labelled 8,pax10 who holds in her left hand a paper inscribed 8,juste ,protestation des ,allis10 whilst with her right she indicates the 8,plan de ,paix40 ,in this way the new artist1 with some ingenuity1 suggests that the spirit of peace is in sympathy with the dissatisfaction of the ,allies at the negotiations which are proceeding between ,england and ,france4 ,her remonstrances are addressed to the figure on her left 7#c71 which formerly represented ,cardinal d',adda1 but is now labelled 8,pole40 7the ,abb ,melchior de ,polignac71 who tries to allay her forebodings4 ,the difficulty of the ,cardinal's hat1 which is of course out of place on an ,abb1 is ingeniously got over by the writer of the ,french #baa libretto1 who refers to him as a ,cardinal in petto4 ,as a matter of fact the writer proved a good prophet1 for1 on the conclusion of the peace1 for which ,polignac was largely responsible1 he was1 on the nomination of the ,chevalier de ,st4 ,george1 created and appointed ,cardinal ,matre de la ,chapelle du ,roi4 ,he was at the time of the publication of the altered plate plenipotentiary in ,holland for the ,french4 ,it will be noticed that the pince-nez and moustache have now been dispensed with4 ,the figure behind ,polignac 7#d71 which originally stood for the ,dauphin1 who1 by the way1 was but lately dead1 is now labelled at the foot 8,mont-or0 7the ,duke of ,ormond's name reversed71 and at the head 8,tori40 ,by an ingenious turn of thought1 the ,dauphin's warlike action of drawing his sword is now metamorphosed into the ,duke's conciliatory action of sheathing his4 ,this refers1 of course1 to the instructions which he had received from the ,english ,government1 on taking over the command of the troops in the ,low ,countries from the ,duke of ,marlborough1 to do all in his power to bring about a peaceful issue4 #bab ,beyond ,polignac the figure 7#e7 which formerly represented ,louis ,,xiv4 is now put to humbler uses1 and merely represents a ,french herald4 ,the paper in his left hand1 which originally enumerated ,louis' forces1 now bears the gratifying legend3 ,bonne ,paix ,de l',anglois ,me rend guai4 ,the lady in front of him 7#f71 who formerly stood for ,catherine of ,braganza1 now represents ,maria ,louisa of ,savoy1 the first wife of ,philip ,v4 of ,spain 7fortunately for him not such a firebrand as his second wife proved to be74 ,she turns to her handsome young husband 7#g7 7here somewhat libellously represented by the whilom 8,old ,hatchet ,face07 who has just renounced for himself and descendants all claims of succession to the crown of ,france4 ,his right hand rests on the scroll of 8charters0 as before1 but the document in his left now bears the legend3 8,leli afstand onder ,conditie0 7,the lily to surrender under conditions74 ,passing almost to the extreme right of the picture1 the eagle-helmeted figure 7#h7 which #bac before represented the ,emperor ,leopold ,i4 now represents his son ,charles ,,vi41 8,le ,seigneur juste de la ,cour d',orient et ,occident40 ,clutching his huge sword1 he expresses the anger of the ,imperialists at the project for peace between ,england and ,france4 ,in the end he refused to concur in the peace of ,utrecht1 and continued at war with ,france until #agad4 ,on either side of him are two figures numbered alike 7#i1 #i74 ,that on his right1 which bears the word 8,wigh0 engraved on his hat1 represents the ,duke of ,marlborough1 the deposed military leader of the ,whigs4 ,that on his left is one of the ,duke's followers1 who1 by his drawn sword1 points the allusion of the librettist to the 8,pacificateur par le fer40 ,to the extreme right of the picture 7#aj7 the ,pope1 now ,clement ,,xi4 in place of ,innocent ,,xi41 encourages ,polignac in his efforts for peace1 and promises him 8,la ,pourpre0 as his reward4 ,returning to the middle background of the crowd we find 7#aa1 #aa7 two ,jesuits4 ,the one who looks over the left shoulder of ,no4 #g was in the first state of the plate a doctor of the #bad ,sorbonne4 ,the index number of this figure is now on his hat4 ,originally it was on the pillar above him4 ,this the adapter has apparently attempted to turn into a rough ornamentation by the addition of parallel strokes4 ,becoming dissatisfied1 he has crossed out the whole by irregular horizontal lines4 ,to the left of figure #g is seen 7#ab7 the ,pretender1 the surreptitious infant of the original1 now grown to manhood1 whispering in ,philip of ,spain's ear that though he claims as a ,protestant the throne of his father1 he is in his heart of the ,romish faith4 ,this figure originally represented the midwife1 but has been metamorphosed by the addition of a man's hat1 wig1 and ruffles4 ,to the extreme left of the foreground of the picture the erstwhile ,father ,petre is now transformed 7#ac7 into a ,jesuit confessor1 who amorously converses with 7#ad7 8,la ,courtisane de ,bourbon10 ,madame de ,maintenon4 ,this cruel aspersion on the character of one who was really1 though secretly1 ,louis ,,xiv4's wife1 and whose nobleness of character is now fully established1 was characteristic of the times4 ,the ,plan de ,paix1 #bae which was so obnoxious to the author of the satire1 would seem to have just fallen from her fingers1 and doubtless he is right in recognising that she had a hand in its consummation4 ,beyond the table sit a monk and friar 7#ae1 #ae71 as formerly1 except that the removal of the cradle has necessitated an extension of their figures4 ,in the background1 against the left-hand pillar1 is 7#af7 the 8,harlequin de ,france40 ,in front of him the three figures 7#ag1 #ah1 #ai71 originally ,quakers1 are now referred to as 8,esprits ,libres40 ,the man with the telescope 7#bj7 is 8,the ,observer of ,foreign ,countries40 ,the other subordinate figures are the same as before1 save for the addition1 in some cases1 of index numbers4 ,it is interesting to notice that this plate was so successful in its adapted state that it was made the basis of a design engraved for a ,german broadside of the following year entitled 8,der ,fridens-,hoffzwischen der ,rose und der vershnten ,lilie10 with which it has many points in common4 ,i have treated of this plate at considerable length because it is the most important of the palimpsest plates of this period4 ,i shall close #baf this chapter by reproducing one other remarkable example designed in its first state to expose the same supposed wicked plot4 ,in the next chapter ,i shall give another dealing with the birth of the ,old ,pretender1 from which we shall gain some idea of the extent to which this clever stratagem of the adapted copperplate was made use of in the deliberate days of the seventeenth and eighteenth centuries4 ,for the present ,i must pass over two elaborate broadsides engraved by ,jean ,bollard1 and entitled respectively 8,aan den ,experten ,hollandschen ,hoofd-,smith0 7,to the ,expert ,dutch ,head-,smith71 and 8,aan der ,meester ,tonge-,slyper0 7,to the ,master ,tongue-,grinder74 ,these1 as we shall see later1 after doing their work against ,james ,,ii4 and the ,old ,pretender1 were seized upon many years afterwards by the piratical publisher of a remarkable ,jansenist tract1 called 8,roma ,perturbata1 ,ofte't ,beroerde ,romen1 etc410 and adapted to the uses of the anti-,jesuit propagandum1 in the same way as 8,l',europe ,alarme pour le ,fils d'un ,meunier10 described above1 was adapted after twenty-five years of idleness as a satire upon the ,peace of ,utrecht4 #bag ,it was this same piratical tractarian who seized upon the elaborate plate which ,i am here reproducing1 divorced it from its letterpress1 cut the plate down to the size of his tract1 and appropriated it in its second state to the purposes of 8,roma ,perturba ta40 ,in its first state1 which ,i give here1 together with its accompanying letterpress1 the line of publication runs3 8,gisling1 ,geneve1 exc40 and the title3 ,het beest van ,babel is aan't vluesten ,die ,godsdienst heeft niet mer te duckten4 7,the beast of ,babel is flying1 ,religion has nothing more to fear47 ,illustration3 ,het beest van ,babel1 etc4 7,the plate in its first state47 ,illustration3 ,het beest van ,babel1 etc4 7,the plate in its second state47 ,the design is very elaborate and crowded with figures1 those in the foreground being executed with considerable spirit4 ,the ,dutch ,lion 7#a7 carries a sword in its right front claws1 as does that on the ,persian flag of to-day4 ,on its back rides ,william of ,orange 7#g7 with lance in rest and bearing a shield upon which ,st4 ,michael is represented combating sin in the shape of a dragon4 ,william is supported by mounted soldiers1 one of whom bears a flag inscribed with #bah the words 8,prot religion and libe0--7,for religion and liberty74 ,over his head flies a winged ,revenge 7#c7 carrying a shield in one hand and the lightnings of ,god's wrath in the other4 ,before him flies the seven-headed ,beast of ,babel 7#b71 shorn of two of his heads1 which lie bleeding on the ground beneath the lion4 ,the monster1 which 8utters horrible shrieks10 bears upon its back between its wings ,father ,petre 7#f71 who holds on his lap the infant ,pretender 7#e71 to whom his 8brains have so infamously given birth40 ,the too-old infant carries in his hand the ever-present toy windmill4 ,blood pours from the decapitated necks of the ,beast as he plunges with his accompanying rabble into the 8pool of horrors40 ,priests and other ,romish officials1 some mounted on goats1 asses1 and wolves1 flee 7#d7 or are trampled under foot 7#h74 ,in the mid background ,william of ,orange 7#i71 by a poetic licence able to be in two places at once1 a fairly common convention even in serious pictures of that and an earlier date1#db is being #bba greeted by the ,english nobles as their saviour4 ,to the left1 through an archway1 ,james ,,ii4 7#aj7 is seen fleeing by boat with his wife and infant1 though1 as a matter of fact1 he remained in ,england some months after the latter were safely abroad4 ,to the right1 through another arch1 ,louis ,,xiv4 7#aa7 is seen 8embracing the child and taking pity on his mother10 and putting two of the curious1 hearse-like carriages of the period at their disposal4 ,here we not only find ,mary of ,modena duplicated1 but the infant ,pretender triplicated in the same picture6 ,so much for the plate in its first state4 #db ,see1 for example1 ,tintoret's great picture of 8,adam and ,eve0 in the ,accademia at ,venice4 ,in its second and adapted state it takes its place in the armoury of the anti-,jesuits4 ,the ,jansenist controversy was at its height in the year of grace #agje1 and ,jansenism1 although nominally subject to ,rome1 was regarded favourably by the ,protestant ,dutch as being a reforming movement within the ,roman ,catholic ,church against the theological casuistry of the ,jesuits4 ,this is not the place to go into the anti-,jansenist polemics of the ,jesuits since the publication of the 8,augustinus0 of #afdj1 though the #bbb interest of the matter is sufficiently tempting4 ,we must content ourselves with remembering that now at the beginning of a new century a supreme effort was being made by the ,jesuits in ,france to destroy completely the pious community of ,port ,royal2 that within four years they were to succeed in dispersing the nuns2 within another year the cloister itself was to be pulled down2 that in #agaa the very bodies of the departed members of the community were destined to be disinterred from the burial ground with the greatest brutalities and indecencies2 and in #agac the church itself demolished4 ,but1 though ,port ,royal itself was doomed1 ,jansenism was finding freedom under the ,protestant ,government of ,holland4 ,in #afhi ,archbishop ,codde had been appointed by the ,pope ,vicar ,apostolic in ,holland4 ,soon1 however1 it was discovered by the ,jesuits that he favoured the ,jansenists4 ,by the machinations of the ,jesuits he was therefore invited to ,rome1 and treacherously detained there for three years1 in defiance of all canonical regulations4 ,in the meantime the ,pope #bbc appointed ,theodore de ,cock in his place1 with the intention of crushing the ,jansenists in ,holland4 ,codde thereupon made his escape from ,rome1 and the well-known struggle of the ,jansenists of ,utrecht and ,haarlem for a legitimate episcopal succession began4 ,this was the juncture at which our copperplate was to do duty a second time1 and for such different ends4 ,it has been divorced from its letterpress1 altered in certain details and slightly cut away at the top and bottom4 ,like those dealing with the ,head ,smith and ,tongue ,sharpener1 as will be seen in the next chapter1 it has been appropriated to the uses of 8,roma ,perturbata40 ,it is now entitled on the panel which has been inserted at the spring of the arches 8,door ,munnike-,jagt1 ,word ,babel ,verkracht0 7,by chasing monks1 ,babel is assailed71 and the piratical publisher has made many ingenious alterations4 ,the possibly punning publication line runs3 8,benedictus ,antisolitarius excudit ,rom40 ,above this appears the chronograph3 8hos heros ,mona,chos appren,de bata,ve rebe,l,les40 #bbd ,the ,lion 7#a7 still represents ,holland and hunts the ,beast of ,babel 7#b7 assisted by the winged ,revenge 7#c71 whose lightnings have now been increased to seven to represent the heraldic arrows of the ,seven ,united ,provinces4 ,this device also now appears on the shield of ,holland's ,knight 7#g7 in place of that of ,st4 ,michael and the ,dragon4 ,the banner of his followers is now inscribed 8,pro ,secularibus40 ,as champion of the ,jansenists the ,knight puts to rout 8all the bald heads 7#d1 #d1 #d1 #d71 together with #8their protector ,kok'0 7#f71 who 8in disguise0 rides between the wings of the ,beast with an illegitimate child 7#e7 on his lap1 from whose right hand the toy windmill of the infant ,pretender has been removed4 ,in the background to the left1 others1 in the quaint words of the ,dutch letterpress 7#aj71 8escape quickly from the town by water1 while they are clothed like gentlemen in order not to be known as monks40 ,in the background to the right1 others flee 8like great gentlemen in carriages10 a fairly ingenious adaptation of ,james ,,ii4's flight and ,louis' welcome of the fugitives4 #bbe ,the group in the middle background is now made to represent ,codde 7#h4;,b71 who has escaped from ,rome and is being welcomed back by the representatives of the ,state 7#i1 #i74 #bbf ,,chapter ,,xi ,,adapted ,,or ,,palimpsest ,,plates 7continued74 ,in the last chapter ,i claim to have introduced the reader to a phase of print-collecting which has in it a sporting element of a peculiarly enticing character4 ,the pursuit of what ,i have called palimpsest copperplates offers entertainment of the very best to one who would make it a speciality1 and1 perhaps1 the most alluring thing about this curious quarry is that the hunter will never be satisfied after running it to earth until he has secured and coupled it in his portfolio with its necessary and enchanting fellow4 ,i propose in this chapter to give a few more specimens of these curious adapted plates4 ,many examples of reheaded statues and adapted portraits lie around us4 ,mr4 ,augustus ,hare tells of a representation of ,lady ,georgina ,fane in ,brympton ,church1 which consists of the head of #bbg that ready-witted lady 8added to the body of an ancestress who was headless10 whilst any visitor to ,yarmouth ,church1 ,isle of ,wight1 may see the imposing marble effigy of ,admiral ,sir ,robert ,holmes1 which consists of the head of that gallant sailor surmounting the body of ,louis ,,xiv4 ,it appears that ,sir ,robert1 having captured the vessel in which the ,italian-made torso of the ,grand ,monarque was being conveyed to ,france for the modelling of the head1 retained the unfinished work and crowned it with his own august features--a good example of the resourcefulness of the ,english character4 ,again1 ,macaulay1 enlarging upon the popularity of ,frederick the ,great in ,england1 tells how at one time enthusiasm reached such a height that the sign-painters were everywhere employed in touching up the portraits of ,admiral ,vernon1 which hung outside innumerable public-houses1 into the likeness of the ,king of ,prussia1 a curious commentary1 by the way1 on the family motto1 8,ver non semper virit40#dc ,further1 it is on record #bbh that after ,trafalgar such was ,nelson's popularity1 that ,daniel ,orme1 engraver to ,george ,,iii41 bought a plate of ,napoleon at the sale of a ,ludgate ,hill printseller's effects1 and altered it into a portrait of our national hero4 #dc ,the following extract from a recent newspaper shows that the practice has not yet altogether died out3-- 8,in the action of ,tussaud v4 ,stiff1 heard in the ,chancery ,division by ,mr4 ,justice ,buckley yesterday1 the plaintiff1 ,mr4 ,louis ,tussaud1 sought to restrain defendant by injunction from carrying on his business of exhibiting models in such a way as to induce the public to believe that the models he showed were the work of the plaintiff4 ,it was stated by the plaintiff's counsel that1 in consequence of an injunction granted some years ago1 it became necessary for the plaintiff to carry on his exhibition as ,louis ,tussaud's ,new ,exhibition in ,regent ,street4 ,it was afterwards turned into a limited liability company1 and removed to the ,alexandra ,palace4 ,some of the models were sold to the defendant1 but no goodwill of the business was sold4 ,the defendant had since opened several exhibitions of waxworks1 other models had been added to those sold by the plaintiff1 and the models of the plaintiff had been split into a considerable number of pieces1 while models made by other persons than the plaintiff were exhibited as ,louis ,tussaud's waxworks4 ,counsel informed the ,court that in one case the head of the ,archbishop of ,canterbury had been put on the body of ,charles ,peace1 and in another instance ,napoleon was represented as taking part in the execution of ,mary ,queen of ,scots4 ,the defendant's present exhibition was a penny show in the ,edgware ,road4 ,in another instance the head of ,mr4 ,ritchie1 the ,chancellor of the ,exchequer1 was put upon a dying soldier40 ,the ,mr4 ,louis ,tussaud here mentioned must not be confused with ,mr4 ,john ,tussaud of the ,marylebone ,road ,exhibition4 ,examples such as these might be multiplied1 but here are enough for our purpose4 ,they show that the systematic practice of copperplate adaptation has its counterpart in other departments of art4 ,illustration3 ,aan der ,meester ,tonge-,slyper4 7,the plate in its first state7 ,illustration3 ,aan der ,meester ,tonge-,slyper4 ,as adapted by the ,anti-,jesuits ,we will now consider a curious broadside #bcj published about the year #afhh1 the copperplate heading of which was destined to be seized upon and adapted to other purposes nearly twenty years later by the piratical publisher referred to in the last chapter4 ,as will be seen from our reproduction1 its letterpress is addressed1 8,aan der ,meester ,tonge-,slyper0 78,to the ,master ,tongue ,grinder074 ,the engraver's name does not appear1 but the work is easily distinguished as that of ,jean ,bollard1 by comparing it with other signed engravings of the same series of pictorial satires4 ,two men at a grindstone sharpen a tongue1 ,another tongue lies on the anvil4 ,two labourers empty a large hamper of tongues into a basket1 which is steadied by a woman4 ,point is given to the picture by the gossiping groups seen through the door and window1 and especially by the two ,xantippes who1 with arms akimbo1 are slanging each other in good earnest4 ,the doggerel letterpress refers to the birth of the ,old ,pretender1 and the mendacious tongues of the conspirators are being delivered to the smith to be coerced into speaking the truth4 #bca ,here is a free translation of the passage1 beginning 8,heden zyn my over ,london03-- 8,to-day ,i received from ,london a cargo of those goods which you have to take in hand2 ,i have some of the biggest size1 ,the ,admiral of the ,first ,flag1 which has been used so much and has become black from lying1 and which1 after all appearances1 seems to have had his end bitten off2 scrape thoroughly his thick skin or he will be up to anything2 swearing oaths1 breaking bonds1 falsely protecting the ,church is his daily work40 ,and so on1 until it ends with the moral3-- 8,nothing more useful than whetting the tongue ,when its aim is to speak the truth4 ,but when it is given to lying1 ,it must be pierced1 flayed1 and scraped40 ,so much for the plate in its first state4 ,in its second we find it published seventeen years later1 and somewhat ingeniously adapted to the new exigencies4 ,it now takes its place in the armoury of the anti-,jesuits1 and is published without any acknowledgment in the pamphlet1 entitled ,roma ,pertubata ,ofte't ,beroerde ,romen1 etc41 etc41 referred to in the last chapter4 ,this pamphlet1 which is a very warren of palimpsest plates 7it has at least four1 and possibly there are others71 may #bcb be seen in the print-room of the ,british ,museum4 ,it may1 too1 as ,i have myself proved1 be discovered at rare intervals in the shops of the old printsellers in ,holland4 ,mine is in a parti-coloured paper wrapper1 whether as issued or added later ,i cannot say4 ,it consists of title-page1 table of contents1 and eleven full-page copperplate engravings of extraordinary interest4 ,curiously enough1 the table of contents makes no reference to the eleventh and last4 ,our palimpsest is number #i4dd #dd ,grateful acknowledgments are here due to the splendid ,catalogue of ,prints and ,drawings in the ,british ,museum1 #e vols41 which should be in the library of every collector of satirical prints4 ,in its new surroundings it has 7vide reproduction7 been divorced from its letterpress1 and been cut away at the bottom4 ,a descriptive panel has been engraved over the doorway1 and other lettering added here and there4 ,the publication line1 8tot ,tongeren by ,j3 la ,langue10 apparently a bogus one1 playing on the words of the original1 8 ,langres chez ,tongelel10 now appears within the border of the design4 ,the tongue which lies on the anvil is now pierced by the seven heraldic arrows of the ,dutch ,provinces1 and words are engraved below to the #bcc effect that 8,there is no worse evil than that a ,pope's tongue dares slander the ,state10 and on the base of the anvil1 8,he has given way to slander4 ,you must forge him before you grind him40 ,below the quarrelling women are the words3 8,these maids are quarrelling for de ,kok10 referring to scandals which were afloat concerning the morality of the ,pope's vicar-general1 and a ,latin chronograph appears at the feet of the chief smith4 ,the inscription over the door gives directions to 8,the ,romish ,dutch ,grinder of ,tongues10 and1 amongst other things1 says of the tongue on the anvil1 8,that is de ,kok's tongue1 wounded by seven arrows1 because he has slandered the ,state by his speech10 which statement hardly tallies with the inscription on the anvil1 unless the vicar-general may be regarded as the very mouthpiece of the ,pope4 ,this is no place1 as ,i have said1 to enlarge upon the ,jansenist propagandum1 but it will well repay the enthusiastic historian to follow out the above allusions to their original source4 ,so much for our adapted broadside4 #bcd ,illustration3 ,the ,stature of a ,great ,man1 or the ,english ,colossus #bce ,illustration3 ,the ,stature of a ,great ,man1 or the ,scotch ,colossus ,i would ask you now to look at the two prints entitled respectively 8,the ,stature of a ,great ,man1 or the ,english ,colossus10 and 8,the ,stature of a ,great ,man1 or the ,,scotch ,colossus40 #bcf ,the first1 dated #agdj1 represents ,sir ,robert ,walpole1 then in the plenitude of his power4 ,he stands on two woolpacks4 ,between his legs is seen the ,british fleet lying inactive4 ,he is flanked by ,marines on the left crying 8,let us fight10 and sailors with drawn swords on the right declaring their readiness to die 8,pro ,patri40 ,the plate teems with allusions to his reluctance to go to war1 by which he was subjecting his country to the insults and aggressions of ,spain and ,france4 ,twenty-two years later the plate was resurrected and altered to its second state1 in which it is made to represent ,lord ,bute4 ,the lower part of the plate1 bearing the quotation from ,shakespeare and the 8,description10 has been now cut away1 and 8,scotch0 inserted in the place of 8,english0 in the title4 ,the chief alterations are the reduction of the full-bottomed wig and the addition of a wig-tie of black ribbon1 the addition #bcg of a star on the breast1 and a new and abusive inscription on the right-hand document4 ,in this case the adapter has shown but little ingenuity4 ,illustration3 ,queen ,anne presiding over the ,house of ,lords4 7,the plate in its first state7 ,illustration3 ,the plate in its second state1 now representing ,george ,i4 presiding over the ,house of ,lords ,we will now turn to a far more elaborate example1 which1 in its first state1 as will be seen in the reproduction1 represents ,queen ,anne presiding in state over the ,house of ,lords4 ,the plate is etched by ,romeyn de ,hooghe4 ,at the top of the picture1 between female figures representing ,plenty and ,war1 is suspended a cloth1 on which the ,queen is shown presiding over the ,house of ,commons4 ,at her side sits ,prince ,george of ,denmark4 ,the whole is surmounted by the words1 8,het ,hoog en ,lager ,huys van ,engeland40 ,left and right of the cloth are scrolls bearing the legends1 8,hinc gloria regni0 and 8,hinc felicitas publica40 ,at the base of the plate are two small self-contained etchings4 ,that on the left shows the heralds proclaiming the ,queen2 that on the right shows ,her ,majesty sitting in ,council4 ,between these are inscribed the following words3-- 8,ann ,d4 ,g4 ,magn ,britanni ,regin10 etc41 etc4 #bch ,the main design is crowded with details and figures of the utmost interest1 any description of which is forbidden by the space at my disposal4 ,the artist's signature is to be seen on the floor of the ,hall4 ,thirteen years were now to elapse before it was transformed into the glorification of ,george ,i4 ,the ,king now takes the place of the late ,queen in the ,house of ,lords4 ,the throne in the ,house of ,commons is vacant4 ,the inscription on the cloth has been re-engraved1 and 8,engeland0 changed to 8,engelandt40 ,the title and the panels at the bottom of the plate have been cut away1 and the index numbers on the main design and the index letters on the cloth have been altered4 ,the designer's name has been removed from the floor of the ,house1 and engraved on the right-hand corner of the plate4 ,these are the main differences4 ,the curious reader may occupy himself in discovering others4 ,the next example here reproduced ,i give because of the peculiarly drastic changes which have been made by the pirate into whose hands the plate has fallen4 #bci ,illustration3 8,the ,races of the ,europeans1 with their ,keys40 7,the plate in its first state7 ,illustration3 8,a ,skit on ,britain40 7,the plate in its second state7 ,in its original state it bears the punning title1 8,the ,races of the ,europeans with their ,keys40 ,the line of publication runs3--8,geo4 ,bickham1 junr41 invt4 et sculp4 ,according to the late ,act1 #agdj4 ,price #as4 ,sold at ye ,black ,moors ,head against ,surry ,street in ye ,strand40 ,the composite design is made up of variorum copies of four separate prints recently published4 ,these are enclosed in the four quarters of an elaborate design1 surmounted by a crouching wolf4 ,at the point where the four corners meet is a grotesque horned head4 ,at the foot are a mask and a poniard4 ,each panel is differently dated1 and surmounts its own set of explanatory notes4 ,the allusions to contemporary politics are most ingeniously conceived1 but are so numerous that space forbids even their barest description4 ,in its second state the plate is entitled 8,a ,skit on ,britain40 ,the line of publication runs the same as before1 saving the name of the artist1 which has been changed into 8,ged ,bilchham40 ,a line of script has also been added on this copy1 which states that 8,this plate is upon the same copper as #8,the ,races of the ,europeans1' much of the #bdj allusions not having been obliterated10 which seems considerably to understate the case4 ,the enclosing design is certainly much the same as before1 though in this there are many alterations in detail1 but of the four engravings by far the greater portion has been removed4 ,the aerial parts are practically untouched1 but of the crowds of figures only a few unimportant groups remain4 ,all the tables of reference have been burnished out1 and are replaced by doggerel verses4 ,the dates have been removed from the four compartments1 and in the places of three of them appear 8,porto ,bello1 ,nov4 #agci10 8,cartagena10 and 8,the ,havana10 while the fourth is left blank4 ,the main part of the satire is directed against the policy of ,sir ,robert ,walpole1 but is of too elaborate a nature to be entered upon here4 ,illustration3 ,the ,headless ,horseman4 7,the plate with the head burnished out47 ,before concluding this account of palimpsest plates ,i shall reproduce three very curious prints in which the substitution of one head for another is more than usually outrageous4#de ,the original #bda engraving was by ,pierre ,lombart after a made-up portrait of ,charles ,i41 on horseback1 professing to be by ,vandyck4 #de ,the earliest example of the artist as ,headsman that ,i have come across is a very rare portrait of ,queen ,elizabeth1 full length1 seated on a throne1 dressed in a robe of state1 holding globe and sceptre1 engraved about #aeij4 ,the ,queen's figure was subsequently burnished out1 and that of ,james ,i4 substituted4 ,this1 unfortunately1 ,i do not possess4 ,the plate was executed before the execution 7save the mark67 of the ,martyr ,king4 ,after his death the head of ,cromwell was substituted1 no doubt for commercial purposes4 ,finally1 ,charles the ,first's head was restored 7again save the mark67 after the ,restoration4 ,our reproductions are from what would seem to be the second1 third1 and fourth states of the plate though a first state is not known4 ,it will be observed that1 in the earliest--namely1 that in which the head has been removed altogether--the scarf is brought across the left shoulder1 and tied under the right arm1 whilst the page-boy has bands and frills to his breeches4 ,in the next1 or third state1 in which ,cromwell's head has been inserted1 the scarf has been removed from the shoulder1 and is tied round the waist1 whilst the bands and frills have been removed from the page-boy's nether garments4 ,in the next1 or fourth stage of the plate1 in which #bdb ,charles's head has been re-inserted1 there are1 besides the substitution of one head for the other1 a few minor alterations1 such as the addition of the ,cavalier moustache to the face of the page-boy1 the restoration of the frills to his breeches1 the alteration of the pattern of the rider's collar1 the addition of the order of ,st4 ,george to the rider's breast1 and the substitution of the royal coat of arms for those of the ,protector at the bottom of the engraving4 ,there are also other known states of the plate1 reproductions of which may be seen in ,mr4 ,alfred ,whitman's ,print-,collector's ,handbook4 ,these were unknown to me when ,i wrote the above description4#df #df ,since writing this ,i paid a visit to the ,hall of the ,middle ,temple1 when the very intelligent custodian told me that ,cromwell ordered the great ,vandyck1 which hangs over the high table1 to be taken down1 and his own somewhat repellent countenance painted in in the place of that of ,charles ,i4 ,fortunately for posterity this outrageous order was not carried out4 ,the whole affair reminds one of the unconsciously grim entry in a certain bookseller's catalogue which ran1 8,memoirs of ,charles the ,first with a head capitally executed40 ,illustration3 ,the plate with ,cromwell's head ,illustration3 ,the plate with ,charles ,i4's head ,so much for historical instances of putting new heads on old shoulders4 ,but1 if ,i am not mistaken1 the very modern restoration of the west front of one of our great cathedrals shows a late ,dean's head surmounting the body of a saint or king1 #bdc which had been mutilated by ,cromwell4 ,it would be cruel1 perhaps1 to be more specific1 as vanity is not the most pleasing of the ,christian virtues4 ,again1 there was lately a good deal of laughter caused by one of the whims of the ,german ,emperor4 ,it appears that his artistic eye had been offended by the incompleteness of a fine headless torso which was brought to the fatherland some years since4 ,everything1 he was aware1 could be made in ,germany1 so what more natural than to offer a prize for the best completion of the work of a ,phidias or a ,praxiteles8 ,finis coronat opus1 and the sculptors of ,germany were called upon to compete4 ,none of the results1 however1 satisfied ,his ,imperial ,majesty1 and two of the artists have been commissioned to try again4 ,would it be lese-majestie to suggest that there is only one head in ,germany that would prove quite acceptable8 ,i present the idea to the competitors4 ,enough has been written to show that the pursuit of the palimpsest plate is sport of the very finest for the collector1 for it is a sport which does not cease with the running of the quarry to earth4 #bdd ,i have reproduced1 without comment1 opposite pages #bdd and #bdf1 and on pages #bde1 #bdg1 and #bdi1 a few more of these adapted copperplates for the sake of any one who may be fortunate enough to possess either the original or the palimpsest4 ,he will find it no bad sport to go hunting for its fellow4 ,illustration3 ,undescribed palimpsest plate4 7,first state and second state47 #bde ,illustration3 ,aan den ,experten ,hollandichen ,hoofd-,smith4 7,the plate in its first state7 ,illustration3 ,aan den ,experten ,hollandichen ,hoofd-,smith4 7,as adapted by the ,anti-,jesuits7 ,illustration3 ,undescribed palimpsest plate4 7,first state and second state47 #bdg ,illustration3 ,an adapted ,copperplate4 ,first state ,illustration3 ,an adapted ,copperplate4 ,second state #bdi ,illustration3 ,a ,history of the ,new ,plot4 ,first state ,illustration3 ,a ,history of the ,new ,plot4 ,second state #bea ,,index 8,aan den ,experten ,hollandschen ,hoofd-,smith10 #baf1 #bdc 8,aan der ,meester ,tonge-,slyper10 #baf1 #bcj-bcc ,,adapted ,,copper ,,plates1 #aib-bdg ,ainsworth1 ,harrison1 #c ,alken1 ,henry1 #aeg-afj ,allen1 ,archdeacon1 #aj ,american ,notes1 #b ,anne1 ,queen1 #bcg1 #bch ,antiquities of ,westminster1 #aej-aec ,a ,pop-,gun fired off by ,george ,cruikshank1 #gi 8,a ,skit on ,britain10 #bci1 #bdj 8,a ,trifling ,mistake10 #gj-gc ,ballad of ,beau ,brocade1 ,the1 #c 8,becky ,sharp10 #aj ,bentley's ,miscellany1 #dc-eb ,bewick's ,birds1 #fh ,book of ,snobs1 #i 8,breeches0 ,bible1 ,barker's1 #b ,brougham1 ,lord1 #fb ,browne1 ,h4 ,k41 #bg1 #bh1 #bi1 #ca1 #cc1 #ed-ef ,bruton1 ,mr4 ,h4 ,w4 #dh1 #di1 #fi1 #ge1 #ha ,buffon1 ,m41 #e ,bunn1 ,alfred1 #aj ,burlington1 ,earl of1 #ih-ajg 8,burlington ,gate10 #ajh ,burns1 ,robert1 #b ,buss1 ,miss ,f4 ,m41 #cd ,buss1 ,r4 ,w41 #bi1 #cj1 #ca1 #cb1 #cc1 #cd ,bute1 ,lord1 #bce1 #bcf ,calcraft1 ,captain ,granby1 #i ,capel1 ,monsignor1 #b 8,captain ,granby ,tiptoff10 #i 8,captain ,shindy10 #i ,carteret1 ,lord1 #aab et seq4 ,catalogue of ,prints and ,drawings in the ,british ,museum1 #ib et passim1 #aih et passim ,chandos1 ,duke of1 #aja ,chapman and ,hall1 ,messrs41 #cc1 #ee ,charles ,i41 #bda-bdb ,charles ,dickens1 ,the ,story of his ,life1 #bg ,churchill1 ,charles1 #ajg-aaa ,clarissa ,harlowe1 #e ,coaching ,days and ,coaching ,ways1 #age-agh ,cochrane1 ,lord1 #fe ,coningsby1 #ab1 #ac1 #bj ,cowell1 ,professor1 #ahd-ahf ,crawhall1 ,joseph1 #ace-ach 8,credulity1 ,superstition1 and ,fanaticism3 a ,medley10 #hh et seq4 ,croker1 ,j4 ,w41 #ab ,cromek1 ,r4 ,h41 #e ,cromwell1 ,oliver1 #bda1 #bdb ,cruikshank1 ,george1 #db1 #de-ed1 #ei-ha1 #afa ,cruikshank's ,portraits of ,himself1 #hj ,cumberland1 ,duke of1 #fj-fi ,cumberland1 ,princess ,olive of1 #fb 8,dana in the ,brazen ,chamber10 #adj-adh ,death in ,london1 #aed-aeh ,dexter1 ,mr4 ,j4 ,p41 #da ,d',horsay2 or the ,follies of the ,day1 by a ,man of ,fashion1 #ac ,dickens and his ,illustrators1 #dj1 #da ,dickens1 ,charles1 #b1 #bf et seq4 his ,american ,notes1 #b his suppressed portrait1 #bg1 #bh ,dickens ,memento1 #dg ,dictionary of ,national ,biography1 #fa1 #fb ,dighton1 ,richard1 #be ,disraeli1 ,benjamin1 #b1 #aj1 #ab1 #aca-acd ,dobson1 ,mr4 ,austin1 #c1 #hb et passim1 #agd ,don ,quixote1 #aac et seq4 8,don ,quixote releases the ,galley ,slaves10 #aah1 #abb 8,don ,quixote seizes the ,barber's ,basin10 #aah1 #abj 8,drop it601 #gh ,du ,maurier1 ,george1 #afb-agc ,edwards1 ,edwin1 #agi-aia ,elizabeth1 ,queen1 #bdj 8,enthusiasm ,delineated10 #hc et seq4 ,essay on the ,genius of ,george ,cruikshank1 #gg ,fane1 ,lady ,georgina1 #bbf ,fanus i ,khiyal1 #ahe-aia ,figaro in ,london1 #fc1 #fd 8,financial ,survey of ,cumberland or the ,beggar's ,petition10 #fj ,fitz,gerald1 ,edward1 #dj1 #agi-aia ,frederick the ,great1 #bbg ,garrick ,club1 ,the1 #h1 #i ,george ,i41 #bch ,george ,,iv41 #aa 8,george ,garbage10 #i ,gray1 ,j4 ,m41 #adh ,grimm's ,fairy ,tales1 #db 8,harry ,foker10 #i ,hertford1 ,marchioness of1 #ge ,hertford1 ,marquis of1 #aj et seq4 ,history of ,pickwick1 #bi ,hobhouse1 ,john ,cam1 #gj-gc ,hogarth ,illustrated1 #hd ,hogarth1 ,william1 #hb et seq4 ,holmes1 ,sir ,robert1 #bbg ,hook1 ,theodore1 #i1 #aj ,ireland1 ,john1 #hd et seq41 #aac et seq4 ,irving1 ,washington1 #b ,italian ,tales1 #gd ,italy1 #c ,james ,i41 #bda ,jansenists1 the1 #bba et seq4 ,jesuits1 ,the1 #bba et seq4 8,joe ,sibley10 #afc-agc ,jones1 ,w4 ,n41 #fh ,jorrocks's ,jaunts and ,jollities1 #aeh ,keene1 ,charles1 #abg-aci ,kitton1 ,f4 ,g41 #dj 8,lady ,kew10 #aj1 #bb ,langford1 ,lady1 #aj ,lawrence1 ,sir ,thomas1 #ai ,leech1 ,john1 #cc1 #cf-ch1 #dj1 #da 8,l',europe alarme pour le ,fils d'un ,meunier10 #bjb-baf ,life of ,dickens1 #cg1 #df ,lippincott's ,magazine1 #aj 8,lord ,walham10 #bc ,lothair1 #b 8,marquis of ,hereford10 #ad ,martin ,chuzzlewit1 #bf1 #ec 8,monsignor ,catesby10 #b 8,mr4 ,dolphin10 #aj 8,mr4 ,john ,jorrocks10 #aeh-afa 8,mr4 ,pickwick at the ,review10 #cc 8,mr40 ,pitt ,crawley1 #ae ,mr4 ,thackeray1 ,mr4 ,yates1 and the ,garrick ,club1 #h 8,mr4 ,wardle and his ,friends under the ,influence of the ,salmon10 #cc 8,mr4 ,winkle's ,first ,shot10 #cc ,napoleon1 ,emperor1 #bbh ,nelson1 ,lord1 #bbh ,oliver ,twist1 #bf1 #dc-eb ,once a ,week1 #abg1 #adj-adh ,orange1 ,william of1 #bag et seq4 ,pailthorpe1 ,mr4 ,f4 ,w41 #ef ,pall ,mall ,gazette1 #aff-afi ,palmer1 ,samuel1 #ef ,pendennis1 #i ,penelope's ,english ,experiences1 #ch ,phillimore1 ,mr4 ,f41 #dg 8,philoprogenitiveness10 #gg1 #gh ,pickwick1 #bf1 #bh et seq41 #dc ,pictures from ,italy1 #ef ,pine's ,horace1 #ed ,poems1 ,burns's1 #b ,pope1 ,alexander1 #ih-ajg ,price1 ,stephen1 #i ,prideaux1 ,colonel1 #aij-aia ,punch1 #abg et seq4 ,queensberry1 ,duke of1 #bc ,reid's ,catalogue of ,george ,cruikshank's ,works1 #de1 #fb1 #fi ,ritchie1 ,mrs41 #aj ,robertson1 ,j4 ,c41 #aed-aeh ,rogers1 ,samuel1 #c 8,roma ,perturbata1 ,ofte't ,beroerde ,romen1 etc410 #baf et seq4 8,rose ,maylie and ,oliver at ,agnes's ,tomb10 #de et seq4 ,roxborough1 ,duke of1 #b 8,royal ,hobbys of the ,hertfordshire ,cock ,horse10 #ge ,ruskin1 ,john1 #c1 #d ,sala1 ,g4 ,a41 #cj1 #dj ,sandys1 ,frederick1 #abg1 #aci-adh ,scott1 ,sir ,walter1 #b ,seymour1 ,robert1 #bi1 #ca 8,sholto ,percy10 #aed-aeh ,sketch ,book1 ,washington ,irving's1 #b ,sketches by ,boz1 #ee1 #eg1 #eh ,smith1 ,j4 ,t41 #aej ,smith1 ,wyndham1 #i ,spielmann1 ,mr4 ,m4 ,h41 #abh et passim ,sporting ,snobs1 #i ,stanislaus ,hoax1 #aj ,stephens1 ,f4 ,g41 #hh ,stothard1 ,t41 #e ,stuart1 ,james ,francis ,edward1 #aih et seq4 ,,suppressed ,,plates1 #a-aia ,surtees1 ,r41 #aeh ,swain1 ,mr4 ,joseph1 #adj-adh ,talpa1 #gh ,tenniel1 ,sir ,john1 #acc ,thackeray1 ,w4 ,m41 #g et seq4 ,the ,artist1 #ade ,the ,battle of ,life1 #bf1 #cd-dj ,the ,battle of ,london ,life2 or ,boz and his ,secretary1 #ci 8,the ,bruiser10 #aaj1 #aaa ,the ,builder1 #ajg ,the ,chimes1 #cf1 #da ,the ,christmas ,carol1 #cf 8,the ,cricket ,match10 #bi1 #cb 8,the ,curate and the ,barber10 #aba1 #abe 8,the ,dead ,rider10 #gd 8,the ,fireside ,scene10 #bf1 #dd et seq4 8,the ,first ,interview10 #aba1 #abc 8,the ,free and ,easy10 #eg 8,the ,funeral of ,chrysostom10 #aaf ,the ,history of ,punch1 #abh et seq4 ,the ,hobby ,horse1 #add 8,the ,innkeeper10 #aad 8,the ,innkeeper's ,wife and ,daughter10 #aah 8,the ,last ,song10 #db 8,the ,man of ,taste10 #ih-ajg 8,the ,marquis of ,steyne10 #g et seq4 ,the ,memoirs of ,joseph ,grimaldi1 #da1 #db ,the ,newcomes1 #bb 8,the ,painted ,chamber10 #aej-aec 8,the ,races of the ,europeans with their ,keys10 #bci ,the ,ruba'iyat of ,omar ,khayyam1 #agi-aia ,the ,speaker1 #ba 8,the ,stature of a ,great ,man1 or ,the ,english ,colossus10 #bcf 8,the ,stature of a ,great ,man1 or ,the ,scotch ,colossus10 #bcf ,the ,strange ,gentleman1 #ed1 #ee 8,the ,street of the ,tombs1 ,pompeii10 #ef ,the ,times1 #aji ,the ,tower of ,london1 #c 8,the ,two ,apprentices10 #afc-agc ,the ,two ,paths1 #c ,the ,vicar of ,wakefield1 #aga-age ,the ,virginians1 #i 8,the ,worship of ,wealth10 #ec1 #ed ,thomson1 ,mr4 ,hugh1 #c1 #aga-agh ,thornhill1 ,sir ,james1 #aaa1 #aab 8,tom ,smart and the ,chair10 #cc ,town ,talk1 #h1 #i ,trilby1 #afb-agc ,tristram1 ,mr4 ,outram1 #age ,truman1 ,edwin1 #fi 8,tupman and ,rachel10 #bi1 #cb ,van der ,banck1 ,johan1 #aab1 #aac ,vanity ,fair1 #g et seq4 ,vernon1 ,admiral1 #bbg ,vivian ,grey1 #aj ,wallace1 ,sir ,richard1 #bj1 #bb ,walpole1 ,horace1 #be ,walpole1 ,sir ,robert1 #bcd1 #bcf ,westminster ,review1 #gh ,whistler1 ,james ,m',n41 #afc-agc ,wilde1 ,oscar1 #afh ,wilkes1 ,john1 #aji-aaa ,yates1 ,edmund1 #h1 #i ,,the ,,end ,printed by ,r4 ,r4 ,,clark1 ,,limited1 ,edinburgh4 ,,advertisements ,,kate ,,greenaway ,,by ,m4 ,h4 ,,spielmann ,,and ,g4 ,s4 ,,layard4 ,containing upwards of #hj full-page illustrations 7#ec in colour1 reproduced from original water-colour drawings by ,kate ,greenaway47 ,square demy #hvo1 cloth1 gilt top1 with ,kate ,greenaway end-papers1 price #bjs4 net4 ,,some ,,press ,,opinions 8,this delightful volume1 with its scores of illustrated letters1 and sketches and charming pictures1 will be very widely welcomed4 ,no one could wish for a more satisfactory memorial of the artist and her work40--,daily ,graphic4 8,whether as regards its subject1 its letterpress1 or its illustrations1 this is one of the most delightful1 as it is likely to become one of the most popular volumes of the series to which it belongs40--,aberdeen ,journal4 8,certainly one of the most beautiful monuments that could be erected to the memory of a modest artist40--,daily ,mail4 8,by reason of its sympathetic treatment of an intensely interesting subject1 of the charm1 the quality1 and the profusion of its illustrations1 and of the faultless taste of its get-up1 should rank among the favourite gift-books of the approaching ,christmas season40--,observer4 8,a book which will delight young and old by its engaging charm40--,jewish ,world4 8,the volume1 magnificent to behold1 is a deeply interesting one to read1 and should be peculiarly attractive to our readers40--,gentlewoman4 8,this delightful book should prove a capital present to give to young folks at ,christmas time4 ,the pictures in it are very beautiful1 while the story of ,kate ,greenaway's fight for fame is sympathetically told40--,scottish ,review4 8,the book is admirably done1 thorough1 sympathetic1 and accurate40--,outlook4 ,,birket ,,foster ,by ,h4 ,m4 ,,cundall1 ,f4,s4,a4 ,containing #ia full-page illustrations 7#gc in colour7 and numerous thumbnail sketches in the text4 ,square demy #hvo1 cloth1 gilt top1 price #bjs4 net4 ,it may safely be asserted1 without fear of contradiction1 that the dainty water-colour drawings executed by ,birket ,foster appeal to the majority of the ,british public more than the works of any other artist4 ,he produced scenes from nature with such exactness and minuteness of detail that the most uninitiated in art are able to understand and appreciate them1 but the chief features in his paintings are the poetic feeling with which he endued them1 and the care with which his compositions were selected4 ,he revelled in sunny landscapes with roaming sheep and with rustic children playing in the foreground1 and in the peaceful red-bricked cottages with thatched roofs2 it is1 perhaps1 by these scenes of rural ,england that ,birket ,foster is best known4 ,he1 however1 was an indefatigable painter1 and produced works selected from all parts of ,england1 ,wales1 and ,scotland2 he travelled frequently on the ,continent2 ,venice1 as well as the ,rhine1 had its charms for him1 and the picturesque scenery of ,brittany has also been portrayed by his brush4 ,the collection of ,birket ,foster's drawings reproduced in this volume is thoroughly representative1 and is sufficiently extensive to include all phases of his work4 ,the accompanying biographical text by ,mr4 ,h4 ,m4 ,cundall will be found to be most sympathetic1 intimate1 and interesting4 ,a4 ,c4 ,,black1 ,,soho ,,square1 ,,london1 ,w4 ,,george ,,morland ,by ,sir ,,walter ,,gilbey1 ,bart4 ,,author ,,of 8,,the ,,life ,,of ,,george ,,stubbs1 ,r4,a40 ,containing #fj full-page reproductions in colour of the artist's best work4 ,square demy #hvo1 cloth1 gilt top1 price #bjs4 net4 ,there will also be an dition de ,luxe1 with letterpress printed on handmade paper1 containing the earliest impressions of the illustrations1 and limited to #bej signed and numbered copies1 price #b3 #bs4 net4 ,there is plenty of room for another ,morland book1 especially when written by the greatest living authority upon the works of the artist1 and where the illustrations are reproduced1 with most excellent results1 from masterpieces loaned from private collections hitherto mostly unknown to the artistic public1 and of which only a few have either been engraved or gravured--at all events1 not before reproduced in colour4 ,george ,morland's work is characterised by its great strength and beauty of colouring4 ,to reproduce so many of his choicest pictures1 and bring the book into this series1 is no easy matter1 but to ensure success the publishers have spared no efforts to make their reproductions worthy of the artist's work and entirely satisfying to the collector and student4 ,the collection of pictures reproduced in this volume is thoroughly representative1 and each illustration is a gem2 they show the several phases of ,morland's charming scenes of ,english life in the renowned ,academician's time4 ,the student and all collectors and admirers of ,morland will also rejoice to have the appreciative text by ,sir ,walter ,gilbey4 ,a4 ,c4 ,,black1 ,,soho ,,square1 ,,london1 ,w4 ,,transcriber',s ,,note ,original spelling and grammar have been generally retained1 with some exceptions noted below4 ,original printed page numbers are shown like this3 #eb4 ,original small caps are now uppercase1 except that on page #bbc the small caps phrase is rendered thus3 8hos heros ,mona,chos appren,de bata ,ve rebe,l,les01 in the simple text edition4 ,italics look like this4 ,footnotes have been relabeled #a-df1 and moved from within paragraphs to nearby locations between paragraphs4 ,the transcriber produced the cover image and hereby assigns it to the public domain4 ,original page images are available from archive4org--search for 8suppressedplates#jjlaya04 ,the ,list of ,illustrations contains two divisions1 those that were printed upon numbered pages1 and those that were printed on unnumbered pages4 ,most illustrations originally printed inside paragraphs of text have been moved to nearby locations between paragraphs1 and the corresponding page numbers have been removed as necessary to maintain proper order of the remaining page numbers4 ,captions of ,illustrations were sometimes altered to conform more closely--in substance or in typography--to the titles in the ,list of ,illustrations 7,,loi74 ,in such cases1 the original captions 7if any7 are nevertheless retained as part of the image4 ,on page #agb1 a caption was inserted where none had been printed1 to match the ,,loi4 ,page #aj4 8protoype0 to 8prototype04 ,page #bab4 8fireband0 to 8firebrand04 ,page #bed4 8,whistler1 ,james ,m#8,n0 to 8,whistler1 ,james ,m',n04