ahawk_ appeared in 1867, it does not come within the
scope of the present work.

[183] A work produced by David Bogue, in 1849, and illustrated by the
celebrated French caricaturist, which professes to give sketches of
"London Life and Character." Allowing for the unfaithfulness of the
portraits, which are wholly Parisian, these designs possess
unquestionable merit. The literary contributors were Albert Smith,
Shirley Brooks, Angus B. Reach, Oxenford, J. Hannay, Sterling Coyne,
and others.

[184] Afterwards married Kate Terry.

[185] "Thackeray," by Anthony Trollope, in "English Men of Letters,"
p. 7.

CHAPTER XVIII.

_CONTEMPORARIES OF JOHN LEECH: RICHARD DOYLE AND JOHN TENNIEL._

We gather from the article in "The Month" which followed his death, and
to which we have to acknowledge materials of which we have availed
ourselves in the revision of the present chapter,[186] that Richard
Doyle's first work was _The Eglinton Tournament, or the Days of Chivalry
Revived_, which was published when he was only fifteen years old. Three
years later he produced _A Grand Historical, Allegorical, and Classical
Procession_, a humorous pageant which the same authority tells us
combined "a curious medley of men and women who played a prominent part
on the world's stage, bringing out into good-humoured relief the
characteristic peculiarities of each." Apart from his talent, it was no
doubt the fact of his being his father's son--the son of John Doyle, the
once famous and eminent HB--which first attracted the attention of the
promoters of _Punch_, and he was only nineteen when, in 1843, he was
taken on the regular pictorial staff of that periodical. It was to the
cheery, delightful pencil of Richard Doyle that the paper owed much of
the popularity which it subsequently achieved.

"It was from his father that he not only inherited his artistic talent,
but received, and that almost exclusively, his artistic training." The
writer in "The Month" goes on to tell us that John Doyle would not allow
his son "to draw from models; his plan was to teach the boy to observe
with watchful eye the leading features of the object before him, and
then some little time after reproduce them from memory as nearly as he
could.... He had no regular training in academy or school of art; he
painted in the studio of no master save his father; and it is curious to
see how his genius overleapt what would have be