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tables, that one is sometimes apt to forget how unfailing, and how

good on the whole, is the work we take so complacently as a matter

of course.  And of this good work, in the earlier days, a large

proportion was done by Mr. Doyle.  He is still living, although he

has long ceased to gladden those sprightly pages.  But it was to

"Punch" that he contributed his masterpiece, the "Manners and

Customs of ye Englyshe," a series of outlines illustrating social

life in 1849, and cleverly commented by a shadowy "Mr. Pips," a sort

of fetch or double of the bustling and garrulous old Caroline

diarist.  In these captivating pictures the life of thirty years ago

is indeed, as the title-page has it, "drawn from ye quick."  We see

the Molesworths and Cantilupes of the day parading the Park; we

watch Brougham fretting at a hearing in the Lords, or Peel holding

forth to the Commons (where the Irish members are already

obstructive); we squeeze in at the Haymarket to listen to Jenny

Lind, or we run down the river to Greenwich Fair, and visit "Mr.

Richardson, his show."  Many years after, in the "Bird's Eye Views

of Society," which appeared in the early numbers of the "Cornhill

Magazine," Mr. Doyle returned to this attractive theme.  But the

later designs were more elaborate, and not equally fortunate.  They

bear the same relationship to Mr. Pips's pictorial chronicle, as the

laboured "Temperance Fairy Tales" of Cruikshank's old age bear to

the little-worked Grimm's "Goblins" of his youth.  So hazardous is

the attempt to repeat an old success!  Nevertheless, many of the

initial letters to the "Bird's Eye Views" are in the artist's best

and most frolicsome manner.  "The Foreign Tour of Brown, Jones, and

Robinson" is another of his happy thoughts for "Punch;" and some of

his most popular designs are to be found in Thackeray's "Newcomes,"

where his satire and fancy seem thoroughly suited to his text.  He

has also illustrated Locker's well-known "London Lyrics," Ruskin's

"King of the Golden River," and Hughes's "Scouring of the White

Horse," from which last the initial at the beginning of this chapter

has been borrowed.  His latest important effort was the series of

drawings called "In Fairy Land," to which Mr. William Allingham

contributed the verses.

In speaking of the "Newcomes," one is reminded that its illustrious

author was himself a "Punch" artist, and would probably have been a

designer alone, had it not been decreed "that he should paint in

colours which will never crack and never need restoration."

Everyone knows the story of the rejected illustrator of "Pickwick,"

whom that and other rebuffs drove permanently to letters.  To his

death, however, he clung fondly to his pencil.  In technique he

never attained to certainty or strength, and his genius was too

quick and creative--perhaps also too desultory--for finished work,

while he was always indifferent to costume and accessory.  But many

of his sketches for "Vanity Fair," for "Pendennis," for "The

Virginians," for "The Rose and the Ring," the Christmas books, and

the posthumously published "Orphan of Pimlico," have a vigour of

impromptu, and a happy suggestiveness which is better than correct

drawing.  Often the realisation is almost photographic.  Look, for

example, at the portrait in "Pendennis" of the dilapidated Major as

he crawls downstairs in the dawn after the ball at Gaunt House, and

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