eted their Times.

_A Contribution to the History of Caricature from the Time of the First
Napoleon Down to the Death of John Leech, in 1864._

BY

GRAHAM EVERITT.

SECOND EDITION.

[Illustration]

London:

SWAN SONNENSCHEIN & CO.
1893.

BUTLER & TANNER,
THE SELWOOD PRINTING WORKS,
FROME, AND LONDON.

PREFACE.

The only works which, so far as I know, profess to deal with English
caricaturists and comic artists of the nineteenth century are two in
number. The first is a work by the late Robert William Buss, embodying
the substance of certain lectures delivered by the accomplished author
many years ago. Mr. Buss's book, which was published for private
circulation only, deals more especially with the work of James Gillray,
his predecessors and contemporaries, treating only briefly and
incidentally of a few of his successors of our own day. The second is a
work by Mr. James Parton, an American author, whose book (published by
Harper Brothers, of New York) treats of "Caricature, and other Comic Art
in all Times and many Lands." It is obviously no part of my duty (even
if I felt disposed to do so) to criticise the work of a brother scribe,
and that scribe an American gentleman. Covering an area so boundless in
extent, it is scarcely surprising that Mr. Parton should devote only
thirty of his pages to the consideration of English caricaturists and
graphic humourists of the nineteenth century.

Under these circumstances, it would seem to me that, in placing the
present work before the public, an apology will scarcely be considered
necessary.

Depending oftentimes for effect upon overdrawing, nearly always upon a
graphic power entirely out of the range of ordinary art, the work of the
caricaturist is not to be measured by the ordinary standard of artistic
excellence, but rather by the light which it throws upon popular opinion
or popular prejudice, in relation to the events, the remembrance of
which it perpetuates and chronicles. While, however, a latitude is
allowed to the caricaturist which would be inconsistent with the
principles by which the practice of art is ordinarily governed, it may
at the same time be safely laid down that it is essential to the success
of the comic designer as well as the caricaturist, that both should be
_artists_ of ability, though not necessarily men of absolute genius.

It may be contended that Gillra