the support it derived from
Seymour's pencil, was by no means a commercial success. _The Devil in
London_ was a little more fortunate. This periodical commenced running
on the 29th of February, 1832, and the illustrations of Isaac Robert
Cruikshank and Kenny Meadows enabled it to reach its thirty-seventh
number. Tom Dibdin's _Penny Trumpet_ ignominiously blew itself out after
the fourth number. _The Schoolmaster at Home_, notwithstanding Seymour's
graphic exertions, collapsed at its sixth number. _The Whig Dresser_,
illustrated by Heath, enjoyed an existence exactly of twelve numbers.
_The Squib_ (1842) lasted for thirty weeks before it exploded and went
out. _Puck_ (1848), illustrated by W. Hine, Kenny Meadows, and Gilbert,
died the twenty-fifth week after its first publication. _Chat_ ran its
course in 1850 and 1851. _The Man in the Moon_, under the literary
guidance of Shirley Brooks, Albert Smith, G. A. Sala, and the Brothers
Brough, enjoyed a comparatively glorious career of two years and a half.
_Diogenes_ (started in 1853, under the literary conduct of Watts
Phillips, the Broughs, Halliday, and Angus Bethune Reach),
notwithstanding the graphic help rendered by McConnell[181] and Charles
H. Bennett, gave up the ghost in 1854. _Punchinello_ (second of the
name) flickered and went out at the seventh number. _Judy_ (the
predecessor of the present paper) appeared 1st February, 1843, but soon
died a natural death. _Town Talk_, edited by Halliday and illustrated by
McConnell, lasted a very limited time. _London_, started by George
Augustus Sala in rivalry of _Punch_, soon ceased running; while the
_Puppet Show_, notwithstanding the ability of Mr. Procter, enjoyed but
a very brief and transitory existence. The strong and healthy
constitution of _Punch_ enabled him not only to outlive all these, but
even a publication superior in some important respects to himself. We
allude to the _Tomahawk_, whose cartoons are certainly the most powerful
and outspoken satires which have appeared since the days of
Gillray.[182]

Among the draughtsmen whom _Punch_ called in to help him in his early
days was a useful and ingenious artist, inferior in many respects to
Kenny Meadows, his name was ALFRED HENRY FORRESTER, better known to most
of us under his _nom de guerre_ of "Alfred Crowquill." The scribes of
the "Catnach," or Seven Dials school, of literature are satirized by
Forrester (in the second volume), wherein we see a "Literary Gent