The render will examine the work called "My Sketch-Book" with not a little amusement, and may gather from it, as we fancy, a good deal of information regarding the character of the individual man, George Cruikshank: what points strike his eye as a painter; what move his anger or admiration as a moralist; what classes he seems most especially disposed to observe, and what to ridicule. There are quacks of all kinds, to whom he has a mortal hatred; quack dandies, who assume under his pencil, perhaps in his eye, the most grotesque appearance possible—their hats grow larger, their legs infinitely more crooked and lean; the tassels of their canes swell out to a most preposterous size; the tails of their coats dwindle away, and finish where coat-tails generally begin. Let us lay a wager that Cruikshank, a man of the people if ever there was one, heartily hates and despises these supercilious, swaggering young gentlemen; and his contempt is not a whit the less laudable because there may be tant soit peu of prejudice in it. It is right and wholesome to scorn dandies, as Nelson said it was to hate Frenchmen; in which sentiment (as we have before said) George Cruikshank undoubtedly shares. In the "Sunday in London,"* Monsieur the Chef is instructing a kitchen-maid how to compound some rascally French kickshaw or the other—a pretty scoundrel truly! with what an air he wears that nightcap of his, and shrugs his lank shoulders, and chatters, and ogles, and grins: they are all the same, these mounseers; there are other two fellows—morbleu! one is putting his dirty fingers into the saucepan; there are frogs cooking in it, no doubt; and just over some other dish of abomination, another dirty rascal is taking snuff! Never mind, the sauce won't be hurt by a few ingredients more or less. Three such fellows as these are not worth one Englishman, that's clear. There is one in the very midst of them, the great burly fellow with the beef: he could beat all three in five minutes. We cannot be certain that such was the process going on in Mr. Cruikshank's mind when he made the design; but some feelings of the sort were no doubt entertained by him.
* The following lines—ever fresh—by the author of "Headlong Hall," published years ago in the Globe and Traveller, are an excellent comment on several of the cuts from the "Sunday in London:"— I. "The poor man's sins are glaring; In the face of ghostly warning He is caught in the fact Of an overt act, Buying greens on Sunday morning. II. "The rich man's sins are hidden In the pomp of wealth and station, And escape the sight Of the children of light, Who are wise in their generation. III. "The rich man has a kitchen, And cooks to dress his dinner; The poor who would roast, To the baker's must post, And thus becomes a sinner. IV. "The rich man's painted windows Hide the concerts of the quality; The poor can but share A crack'd fiddle in the air, Which offends all sound morality. V. "The rich man has a cellar, And a ready butler by him; The poor must steer For his pint of beer Where the saint can't choose but spy him. VI. "This rich man is invisible In the crowd of his gay society; But the poor man's delight Is a sore in the sight And a stench in the nose of piety."
Against dandy footmen he is particularly severe. He hates idlers, pretenders, boasters, and punishes these fellows as best he may. Who does not recollect the famous picture, "What IS taxes, Thomas?" What is taxes indeed; well may that vast, over-fed, lounging flunky ask the question of his associate Thomas: and yet not well, for all that Thomas says in reply is, "I DON'T KNOW." "O beati PLUSHICOLAE," what a charming state of ignorance is yours! In the "Sketch-Book" many footmen make their appearance: one is a huge fat Hercules of a Portman Square porter, who calmly surveys another poor fellow, a porter likewise, but out of livery, who comes staggering forward with a box that Hercules might lift with his little finger. Will Hercules do so? not he. The giant can carry nothing heavier than a cocked-hat note on a silver tray, and his labors are to walk from his sentry-box to the door, and from the door back to his sentry-box, and to read the Sunday paper, and to poke the hall fire twice or thrice, and to make five meals a day. Such a fellow does Cruikshank hate and scorn worse even than a Frenchman.
The man's master, too, comes in for no small share of our artist's wrath. There is a company of them at church, who humbly designate themselves "miserable sinners!" Miserable sinners indeed! Oh, what floods of turtle-soup, what tons of turbot and lobster-sauce must have been sacrificed to make those sinners properly miserable. My lady with the ermine tippet and draggling feather, can we not see that she lives in Portland Place, and is the wife of an East India Director? She has been to the Opera over-night (indeed her husband, on her right, with his fat hand dangling over the pew-door, is at this minute thinking of Mademoiselle Leocadie, whom he saw behind the scenes)—she has been at the Opera over-night, which with a trifle of supper afterwards—a white-and-brown soup, a lobster-salad, some woodcocks, and a little champagne—sent her to bed quite comfortable. At half-past eight her maid brings her chocolate in bed, at ten she has fresh eggs and muffins, with, perhaps, a half-hundred of prawns for breakfast, and so can get over the day and the sermon till lunch-time pretty well. What an odor of musk and bergamot exhales from the pew!—how it is wadded, and stuffed, and spangled over with brass nails! what hassocks are there for those who are not too fat to kneel! what a flustering and flapping of gilt prayer-books; and what a pious whirring of bible leaves one hears all over the church, as the doctor blandly gives out the text! To be miserable at this rate you must, at the very least, have four thousand a year: and many persons are there so enamored of grief and sin, that they would willingly take the risk of the misery to have a life-interest in the consols that accompany it, quite careless about consequences, and sceptical as to the notion that a day is at hand when you must fulfil YOUR SHARE OF THE BARGAIN.
Our artist loves to joke at a soldier; in whose livery there appears to him to be something almost as ridiculous as in the uniform of the gentleman of the shoulder-knot. Tall life-guardsmen and fierce grenadiers figure in many of his designs, and almost always in a ridiculous way. Here again we have the honest popular English feeling which jeers at pomp or pretension of all kinds, and is especially jealous of all display of military authority. "Raw Recruit," "ditto dressed," ditto "served up," as we see them in the "Sketch-Book," are so many satires upon the army: Hodge with his ribbons flaunting in his hat, or with red coat and musket, drilled stiff and pompous, or at last, minus leg and arm, tottering about on crutches, does not fill our English artist with the enthusiasm that follows the soldier in every other part of Europe. Jeanjean, the conscript in France, is laughed at to be sure, but then it is because he is a bad soldier: when he comes to have a huge pair of mustachios and the croix-d'honneur to briller on his poitrine cicatrisee, Jeanjean becomes a member of a class that is more respected than any other in the French nation. The veteran soldier inspires our people with no such awe—we hold that democratic weapon the fist in much more honor than the sabre and bayonet, and laugh at a man tricked out in scarlet and pipe-clay.
That regiment of heroes is "marching to divine service," to the tune of the "British Grenadiers." There they march in state, and a pretty contempt our artist shows for all their gimcracks and trumpery. He has drawn a perfectly English scene—the little blackguard boys are playing pranks round about the men, and shouting, "Heads up, soldier," "Eyes right, lobster," as little British urchins will do. Did one ever hear the like sentiments expressed in France? Shade of Napoleon, we insult you by asking the question. In England, however, see how different the case is: and designedly or undesignedly, the artist has opened to us a piece of his mind. In the crowd the only person who admires the soldiers is the poor idiot, whose pocket a rogue is picking. There is another picture, in which the sentiment is much the same, only, as in the former drawing we see Englishmen laughing at the troops of the line, here are Irishmen giggling at the militia.
We have said that our artist has a great love for the drolleries of the Green Island. Would any one doubt what was the country of the merry fellows depicted in his group of Paddies?
"Place me amid O'Rourkes, O'Tooles, The ragged royal race of Tara; Or place me where Dick Martin rules The pathless wilds of Connemara."
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br /> We know not if Mr. Cruikshank has ever had any such good luck as to see the Irish in Ireland itself, but he certainly has obtained a knowledge of their looks, as if the country had been all his life familiar to him. Could Mr. O'Connell himself desire anything more national than the scene of a drunken row, or could Father Mathew have a better text to preach upon? There is not a broken nose in the room that is not thoroughly Irish.
We have then a couple of compositions treated in a graver manner, as characteristic too as the other. We call attention to the comical look of poor Teague, who has been pursued and beaten by the witch's stick, in order to point out also the singular neatness of the workmanship, and the pretty, fanciful little glimpse of landscape that the artist has introduced in the background. Mr. Cruikshank has a fine eye for such homely landscapes, and renders them with great delicacy and taste. Old villages, farm-yards, groups of stacks, queer chimneys, churches, gable-ended cottages, Elizabethan mansion-houses, and other old English scenes, he depicts with evident enthusiasm.
Famous books in their day were Cruikshank's "John Gilpin" and "Epping Hunt;" for though our artist does not draw horses very scientifically,—to use a phrase of the atelier,—he FEELS them very keenly; and his queer animals, after one is used to them, answer quite as well as better. Neither is he very happy in trees, and such rustical produce; or, rather, we should say, he is very original, his trees being decidedly of his own make and composition, not imitated from any master.
But what then? Can a man be supposed to imitate everything? We know what the noblest study of mankind is, and to this Mr. Cruikshank has confined himself. That postilion with the people in the broken-down chaise roaring after him is as deaf as the post by which he passes. Suppose all the accessories were away, could not one swear that the man was stone-deaf, beyond the reach of trumpet? What is the peculiar character in a deaf man's physiognomy?—can any person define it satisfactorily in words?—not in pages; and Mr. Cruikshank has expressed it on a piece of paper not so big as the tenth part of your thumb-nail. The horses of John Gilpin are much more of the equestrian order; and as here the artist has only his favorite suburban buildings to draw, not a word is to be said against his design. The inn and old buildings are charmingly designed, and nothing can be more prettily or playfully touched.
"At Edmonton his loving wife From the balcony spied Her tender husband, wond'ring much To see how he did ride. "'Stop, stop, John Gilpin! Here's the house!' They all at once did cry; 'The dinner waits, and we are tired—' Said Gilpin—'So am I!' "Six gentlemen upon the road Thus seeing Gilpin fly, With post-boy scamp'ring in the rear, They raised the hue and cry:— "'Stop thief! stop thief!—a highwayman!' Not one of them was mute; And all and each that passed that way Did join in the pursuit. "And now the turnpike gates again Flew open in short space; The toll-men thinking, as before, That Gilpin rode a race."
The rush, and shouting, and clatter are excellently depicted by the artist; and we, who have been scoffing at his manner of designing animals, must here make a special exception in favor of the hens and chickens; each has a different action, and is curiously natural.
Happy are children of all ages who have such a ballad and such pictures as this in store for them! It is a comfort to think that woodcuts never wear out, and that the book still may be had for a shilling, for those who can command that sum of money.
In the "Epping Hunt," which we owe to the facetious pen of Mr. Hood, our artist has not been so successful. There is here too much horsemanship and not enough incident for him; but the portrait of Roundings the huntsman is an excellent sketch, and a couple of the designs contain great humor. The first represents the Cockney hero, who, "like a bird, was singing out while sitting on a tree."
And in the second the natural order is reversed. The stag having taken heart, is hunting the huntsman, and the Cheapside Nimrod is most ignominiously running away.
The Easter Hunt, we are told, is no more; and as the Quarterly Review recommends the British public to purchase Mr. Catlin's pictures, as they form the only record of an interesting race now rapidly passing away, in like manner we should exhort all our friends to purchase Mr. Cruikshank's designs of ANOTHER interesting race, that is run already and for the last time.
Besides these, we must mention, in the line of our duty, the notable tragedies of "Tom Thumb" and "Bombastes Furioso," both of which have appeared with many illustrations by Mr. Cruikshank. The "brave army" of Bombastes exhibits a terrific display of brutal force, which must shock the sensibilities of an English radical. And we can well understand the caution of the general, who bids this soldatesque effrenee to begone, and not to kick up a row.
Such a troop of lawless ruffians let loose upon a populous city would play sad havoc in it; and we fancy the massacres of Birmingham renewed, or at least of Badajoz, which, though not quite so dreadful, if we may believe his Grace the Duke of Wellington, as the former scenes of slaughter, were nevertheless severe enough: but we must not venture upon any ill-timed pleasantries in presence of the disturbed King Arthur and the awful ghost of Gaffer Thumb.
We are thus carried at once into the supernatural, and here we find Cruikshank reigning supreme. He has invented in his time a little comic pandemonium, peopled with the most droll, good-natured fiends possible. We have before us Chamisso's "Peter Schlemihl," with Cruikshank's designs translated into German, and gaining nothing by the change. The "Kinder und Hans-Maerchen" of Grimm are likewise ornamented with a frontispiece copied from that one which appeared to the amusing version of the English work. The books on Phrenology and Time have been imitated by the same nation; and even in France, whither reputation travels slower than to any country except China, we have seen copies of the works of George Cruikshank.
He in return has complimented the French by illustrating a couple of Lives of Napoleon, and the "Life in Paris" before mentioned. He has also made designs for Victor Hugo's "Hans of Iceland." Strange, wild etchings were those, on a strange, mad subject; not so good in our notion as the designs for the German books, the peculiar humor of which latter seemed to suit the artist exactly. There is a mixture of the awful and the ridiculous in these, which perpetually excites and keeps awake the reader's attention; the German writer and the English artist seem to have an entire faith in their subject. The reader, no doubt, remembers the awful passage in "Peter Schlemihl," where the little gentleman purchases the shadow of that hero—"Have the kindness, noble sir, to examine and try this bag." "He put his hand into his pocket, and drew thence a tolerably large bag of Cordovan leather, to which a couple of thongs were fixed. I took it from him, and immediately counted out ten gold pieces, and ten more, and ten more, and still other ten, whereupon I held out my hand to him. Done, said I, it is a bargain; you shall have my shadow for your bag. The bargain was concluded; he knelt down before me, and I saw him with a wonderful neatness take my shadow from head to foot, lightly lift it up from the grass, roll and fold it up neatly, and at last pocket it. He then rose up, bowed to me once more, and walked away again, disappearing behind the rose bushes. I don't know, but I thought I heard him laughing a little. I, however, kept fast hold of the bag. Everything around me was bright in the sun, and as yet I gave no thought to what I had done."
This marvellous event, narrated by Peter with such a faithful, circumstantial detail, is painted by Cruikshank in the most wonderful poetic way, with that happy mixture of the real and supernatural that makes the narrative so curious, and like truth. The sun is shining with the utmost brilliancy in a great quiet park or garden; there is a palace in the background, and a statue basking in the sun quite lonely and melancholy; there is a sun-dial, on which is a deep shadow, and in the front stands Peter Schlemihl, bag in hand: the old gentleman is down on his knees to him, and has just lifted off the ground the SHADOW OF ONE LEG; he is going to fold it back neatly, as one does the tails of a coat, and will stow it, without any creases or crumples, along with the other black garments that lie in that immense pocket of his. Cruikshank has designed all th
is as if he had a very serious belief in the story; he laughs, to be sure, but one fancies that he is a little frightened in his heart, in spite of all his fun and joking.
The German tales we have mentioned before. "The Prince riding on the Fox," "Hans in Luck," "The Fiddler and his Goose," "Heads off," are all drawings which, albeit not before us now, nor seen for ten years, remain indelibly fixed on the memory. "Heisst du etwa Rumpelstilzchen?" There sits the Queen on her throne, surrounded by grinning beef-eaters, and little Rumpelstiltskin stamps his foot through the floor in the excess of his tremendous despair. In one of these German tales, if we remember rightly, there is an account of a little orphan who is carried away by a pitying fairy for a term of seven years, and passing that period of sweet apprenticeship among the imps and sprites of fairy-land. Has our artist been among the same company, and brought back their portraits in his sketch-book? He is the only designer fairy-land has had. Callot's imps, for all their strangeness, are only of the earth earthy. Fuseli's fairies belong to the infernal regions; they are monstrous, lurid, and hideously melancholy. Mr. Cruikshank alone has had a true insight into the character of the "little people." They are something like men and women, and yet not flesh and blood; they are laughing and mischievous, but why we know not. Mr. Cruikshank, however, has had some dream or the other, or else a natural mysterious instinct (as the Seherinn of Prevorst had for beholding ghosts), or else some preternatural fairy revelation, which has made him acquainted with the looks and ways of the fantastical subjects of Oberon and Titania.
We have, unfortunately, no fairy portraits; but, on the other hand, can descend lower than fairy-land, and have seen some fine specimens of devils. One has already been raised, and the reader has seen him tempting a fat Dutch burgomaster, in an ancient gloomy market-place, such as George Cruikshank can draw as well as Mr. Prout, Mr. Nash, or any man living. There is our friend once more; our friend the burgomaster, in a highly excited state, and running as hard as his great legs will carry him, with our mutual enemy at his tail.
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