en serious disadvantages
to an ordinary man.... He attached himself to no school; he was not
familiar, strange to say, with the masterpieces of foreign artists. He
had never been in Paris, or Rome, or Vienna." It will be well for the
reader to bear this in mind, because Doyle is one of the few book
illustrators or etchers whom the professional art critic has
condescended to notice, and it will enable him the better to understand
and appreciate the soundness of his criticism. No one, we are told, owed
less than Richard Doyle "did to those who had gone before him; and if
this rendered his works less elaborate and conventional, it gave them a
freshness and originality which might have been hampered if he had been
forced into conformity with the accepted canons of the professional
studio."[187] The writer of the article from which we have quoted would
seem to have read what Mr. Hodder has told us respecting his friend
Kenny Meadows, for the following is certainly not new to us: "He was not
a self-taught artist, for he was trained by one who had a genius kin to
his own, but he was an artist who had never forced himself into the
observance of those mechanical rules and canons which to ordinary men
are necessary to their correct painting (just as rules of grammar are
necessary to correct writing), but hamper and trammel the man of genius,
who has in himself the fount whence such rules proceed, and
instinctively follows them in the spirit, though not in the letter. So
far as they will forward the end he has in view, and no farther."[188]
It will be seen by the above that the kindly writer gives Doyle credit
for _genius_, and we who are strictly impartial will cheerfully admit
that if he had not positive genius,--which we somewhat doubt,--he was
certainly one of the most genial and graceful of comic designers.

It was _Punch's_ practice during the earlier years of his career to
produce a new cover with each succeeding volume.[189] Richard Doyle,
however, signalized his accession by the contribution of a wrapper which
was considered too good to be thrown aside at the expiration of a few
months. The well known and admirable design was stereotyped, and still
forms, with certain modifications, the permanent cover of _Punch's_
weekly series.

Specially worthy of note amongst his _Punch_ designs may be mentioned
_The Napoleon of Peace_ (Louis Philippe), and _The Land of Liberty_,
"recommended to the consideration of Brother Jonathan.