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was technically a success, we began to look after the financial

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Gin has furnished many subjects to Mr. Cruikshank, who labors in his own sound and hearty way to teach his countrymen the dangers of that drink. In the "Sketch-Book" is a plate upon the subject, remarkable for fancy and beauty of design; it is called the "Gin Juggernaut," and represents a hideous moving palace, with a reeking still at the roof and vast gin-barrels for wheels, under which unhappy millions are crushed to death. An immense black cloud of desolation covers over the country through which the gin monster has passed, dimly looming through the darkness whereof you see an agreeable prospect of gibbets with men dangling, burnt houses, &c. The vast cloud comes sweeping on in the wake of this horrible body-crusher; and you see, by way of contrast, a distant, smiling, sunshiny tract of old English country, where gin as yet is not known. The allegory is as good, as earnest, and as fanciful as one of John Bunyan's, and we have often fancied there was a similarity between the men.

was technically a success, we began to look after the financial

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.

was technically a success, we began to look after the financial

* 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:"--

was technically a success, we began to look after the financial

"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.

"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.

"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.

"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.

"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.

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