Page:English Caricaturists and Graphic Humourists of the nineteenth century.djvu/476

 Book" (1834) will give us a good idea of his style. In "Tea Leaves for Breakfast," Strong Black is represented by a sturdy negro carrying a heavy basket; a tall youth with a small father personating Hyson; a housemaid shaking a hall mat, to the discomfort of herself and the passers-by, is labelled Fine dust; a cockney accidentally discharging his fowling-piece does duty for Gunpowder; while Mixed is aptly personified by a curious group of masqueraders. The vowels put in a comical appearance: A with his hands behind him listens to E, who points to I as the subject of his remarks, which must be of a scandalous character, as the injured vowel looks the picture of anger and astonishment. E finds a ready listener in O, who opens his mouth and extends his hands in real or simulated amazement and horror.

Crowquill was a clever caricaturist, and began work when he was only eighteen. We have seen some able satires of his executed between the years 1823 and 1826 inclusive. One of the best, published by S. Knight in 1825, is entitled, Paternal Pride: "Dear Doctor, don't you think my little Billy is like me?" "The very picture of you in every feature!" Ups and Downs (Knights, 1823), comprise "Take Up" (a Bow Street runner); "Speak Up" (a barrister); "Hang Up" (a hangman); "Let-em-Down" (a coachman); "Knock-em-Down" (an auctioneer); "Screw-em-Down" (an undertaker). The following are given as Four Specimens of the Reading Public (Fairburn, 1826): "Romancing Molly," "Sir Lacey Luscious," a "Political Dustman," and "French à la Mode." Two, in which he was assisted by George Cruikshank, entitled, Indigestion, and Jealousy, will be found in the volume published (and republished) under the name of "Cruikshankiana." The latter shows on the face of it that, while Crowquill was responsible for the design, the etching and a large share of the invention are due to Cruikshank.

If not a genius, the man was talented and clever,—a universal favourite. He could draw, he could write; he was an admirable vocalist, setting the table in a roar with his medley of songs. Even as a painter he was favourably known. Temperance and Intemperance were engraved from his painting in oils, and called forth a letter of