r once entered their
heads. The artist however was shrewd enough to take note of the
observation for future use; and seven years later on, when he and Egan
produced their "Finish to the Adventures of Tom, Jerry, and Logic in
their Pursuits through Life in and out of London," endeavoured to profit
by the storm which had been raised by the good people of 1821, by
tagging a clumsy moral to the sequel.

By this time, however, the excitement which had attended the original
work had evaporated; by this time, too, the public had learnt to
discriminate between the pencils of the brothers Cruikshank; and the
"Finish," as compared with the original "Life," fell comparatively flat.
It made however some sort of sensation in its day, but has become not
only a scarce book, but one that is little sought after. The genius and
reputation of George and the pen of Thackeray have kept alive the
popularity of the "Life,"[59] while the "Finish"--left to the unaided
but clever hand of Robert--has like himself been almost forgotten.

And yet it scarcely merits this fate. It contains thirty-six etchings by
Robert Cruikshank, some of them of singular merit. Among them may be
mentioned, _The Duchess of Dogood_; _Splendid Jim_; _Logic Visiting his
Old Acquaintance on Board the Fleet_; _Corinthian Kate in the Last Stage
of Consumption, Disease, and Inebriety_; and if not the production of a
genius, the hand of an artist of singular merit, ability, and power is
manifest in the etchings entitled, _The Hounds at a Standstill_;
_Logic's Upper Storey_; and _The End of Corinthian Kate_.

PIERCE EGAN.

Although modestly claiming for himself the merits of this book, Pierce
Egan stands in relation to it in the position of a showman, and nothing
more. He is not even entitled to the credit of being the
originator,--for the originator and suggestor was Robert Cruikshank, who
informs us of the fact (after his own characteristic fashion) by way of
footnote to his frontispiece to the "Finish."[60] But Egan is
undoubtedly a clever showman; if he displays rather more vulgarity than
we altogether like, we must not forget the audience to whom he addresses
himself, and for whom indeed his show is specially intended. We cannot
admit that the popularity of this book was _entirely_ due to the merit
of the artists whose canvas he elucidates and (after his own fashion)
explains. In common fairness some credit should be conceeded to Egan
himself. Of literary talents