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Leighton's "Lyra Germanica" and "Moral Emblems," and the "Spiritual

Conceits" of W. Harry Rogers.  These are some only of the number,

which does not include books like Mrs. Hugh Blackburn's "British

Birds," Wolf's "Wild Animals," Wise's "New Forest," Linton's "Lake

Country," Wood's "Natural History," and many more.  Nor does it take

in the various illustrated periodicals which have multiplied so

freely since, in 1859, "Once a Week" first began to attract and

train such younger draughtsmen as Sandys, Lawless, Pinwell,

Houghton, Morten, and Paul Grey, some of whose best work in this way

has been revived in the edition of Thornbury's "Ballads and Songs,"

recently published by Chatto and Windus.  Ten years later came the

"Graphic," offering still wider opportunities to wood-cut art, and

bringing with it a fresh school of artists.  Herkomer, Fildes,

Small, Green, Barnard, Barnes, Crane, Caldecott, Hopkins, and

others,--quos nunc perscribere longum est--have contributed good

work to this popular rival of the older, but still vigorous,

"Illustrated."  And now again, another promising serial, the

"Magazine of Art," affords a supplementary field to modern

refinements and younger energies.

Not a few of the artists named in the preceding paragraph have also

earned distinction in separate branches of the pictorial art, and

specially in that of humorous design,--a department which has always

been so richly recruited in this country that it deserves more than

a passing mention.  From the days of Hogarth onwards there has been

an almost unbroken series of humorous draughtsmen, who, both on wood

and metal, play a distinguished part in our illustrated literature.

Rowlandson, one of the earliest, was a caricaturist of inexhaustible

facility, and an artist who scarcely did justice to his own powers.

He illustrated several books, but he is chiefly remembered in this

way by his plates to Combe's "Three Tours of Dr. Syntax."  Gillray,

his contemporary, whose bias was political rather than social, is

said to have illustrated "The Deserted Village" in his youth; but he

is not famous as a book-illustrator.  Another of the early men was

Bunbury, whom "quality"-loving Mr. Walpole calls "the second

Hogarth, and first imitator who ever fully equalled his original

(!);" but whose prints to "Tristram Shandy," are nevertheless

completely forgotten, while, if he be remembered at all, it is by

the plate of "The Long Minuet," and the vulgar "Directions to Bad

Horsemen."  With the first years of the century, however, appears

the great master of modern humorists, whose long life ended only a

few years since, "the veteran George Cruikshank"--as his admirers

were wont to style him.  He indeed may justly be compared to

Hogarth, since, in tragic power and intensity he occasionally comes

nearer to him than any artist of our time.  It is manifestly

impossible to mention here all the more important efforts of this

indefatigable worker, from those far-away days when he caricatured

"Boney" and championed Queen Caroline, to that final frontispiece

for "The Rose and the Lily"--"designed and etched (according to the

inscription) by George Cruikshank, age 83;" but the plates to the

"Points of Humour," to Grimm's "Goblins," to "Oliver Twist," "Jack

Sheppard," Maxwell's "Irish Rebellion," and the "Table Book," are

sufficiently favourable and varied specimens of his skill with the

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