I have strayed away, perhaps unpardonably, from George Cruikshank. To those whose only ludicrous prophet is "Punch" he may be comparatively little known. But in the great world of pictorial art, both in England and on the Continent, he worthily holds an illustrious place. His name is a household word with his countrymen; and whenever a young hopeful displays ever so crude an aptitude for caricaturing his schoolmaster, or giving with slate and pencil the facetious side of his grandmother's cap and spectacles, he is voted by the unanimous suffrage of fireside critics to be a "regular Cruikshank." In this connection I have heard him sometimes called "Crookshanks," which is taking, I apprehend, even a grosser liberty with his name than in the case of the additional _c_,--"Crookshanks" having seemingly a reference, and not a complimentary one, to George's legs.
This admirable artist and good man was the son of old Isaac Cruikshank, in his day a famous engraver of lottery-tickets, securities in which the British public are now no longer by law permitted to invest, but which, fifty years since, made as constant a demand on the engraver's art as, in our time and in America, is made by the thousand and one joint-stock banks whose pictorial promises-to-pay fill, or should properly fill, our pocket-books. The abilities of Isaac were not entirely devoted to the lottery; and I have at home, from his hand, a very rare and curious etching of the execution of Louis XVI., with an explanatory diagram beneath of the working of the guillotine. George Cruikshank's earliest pencil-drawings are dated, as I have remarked, before the present century drew breath; but he must have begun to gain reputation as a caricaturist upon copper towards the end of the career of Napoleon I.,--the "Boney" to whom he has adhered with such constant, albeit jocular, animosity. He was the natural successor of James Gillray, the renowned delineator of "Farmer George and Little Nap," and "Pitt and Boney at Dinner," and hundreds of political cartoons, eagerly bought in their day, but now to be found only in old print-shops. Gillray was a man of vast, but misapplied talents. Although he etched caricatures for a livelihood, his drawing was splendid,--wellnigh Michel-Angelesque,--but always careless and _outré_. He was continually betting crown-bowls of punch that he would design, etch, and bite in so many plates within a given time, and, with the assistance of a private bowl, he almost always won his bets; but the punch was too much for him in the long run. He went mad and died miserably. George Cruikshank was never his pupil; nor did he ever attain the freedom and mastery of outline which the crazy old reprobate, who made the fortune of Mr. Humphries, the St. James's Street print-seller, undeniably possessed; but his handling was grounded upon Gillray's style; and from early and attentive study of his works he must have acquired that boldness of treatment, that rotundity of light and shade, and that general "fatness," or _morbidezza_, of touch, which make the works of Gillray and Cruikshank stand out from the coarse scrawls of Rowlandson, and the bald and meagre scratches of Sir Charles Bunbury. Unless I am much mistaken, one of the first works that brought George into notice was an etching published in 1815, having reference to the exile of the detested Corsican to St. Helena. But it was in 1821 that he first made a decided mark. For William Hone--a man who was in perpetual opposition to the powers that were--he drew on wood a remarkable series of illustrations to the scurrilous, but perhaps not undeserved, satires against King George IV., called, "The Political House that Jack Built," "The Green Bag," "A Slap at Slop," and the like,--all of them having direct and most caustic reference to the scandalous prosecution instituted against a woman of whom it is difficult to say whether she was bad or mad or both, but who was assuredly most miserable,--the unhappy Caroline of Brunswick. George Cruikshank's sketch of the outraged husband, the finest and stoutest gentleman in Europe, being lowered by means of a crane into a pair of white kid pantaloons suspended between the posts of his bed, was inimitably droll, and clearly disloyal. But disloyalty was fashionable in the year '21.
