and Gillray, and on the other towards Leech and
Tenniel, deserves honourable mention. Those of Cruikshank's political
caricatures which were designed for the squibs of William Hone
(1779-1842) are, comparatively speaking, uninteresting; his ambition was
that of Hogarth--the production of "moral comedies." Much of his work,
therefore, may be said to form a link in the chain of development
through which has passed that ironical _genre_ to which reference has
already been made. In 1829, however, began to appear the famous series
of lithographs, signed H.B., the work of John Doyle (1798-1868). These
jocularities are interesting otherwise than politically; thin and weakly
as they are, they inaugurated the style of later political caricature.
In France, meanwhile, with the farcical designs of Edme Jean Pigal (b.
1794) and the realistic sketches of Henri Monnier (1805-1872), the
admirable portrait-busts of Jean Pierre Dantan the younger (1800-1869)
and the fine military and low-life drolleries of Nicolas Toussaint
Charlet (1792-1845) were appearing. Up to this date, though journalism
and caricature had sometimes joined hands (as in the case of the
_Craftsman_ and the _Anti-Jacobin_, and particularly in _Les Revolutions
de France et de Brabant_ and _Les Actes des Apotres_), the alliance had
been but brief; it was reserved for Charles Philipon (1802-1862), who
may be called the father of comic journalism, to make it lasting. The
foundation of _La Caricature_, by Philipon in 1831, suppressed in 1835
after a brief but glorious career, was followed by _Le Charivari_
(December 1832), which is perhaps the most renowned of the innumerable
enterprises of this extraordinary man. Among the artists he assembled
round him, the highest place is held by Honore Daumier (1808-1879), a
draughtsman of great skill, and a caricaturist of immense vigour and
audacity. Another of Philipon's band was Sulpice Paul Chevalier
(1801-1866), better known as Gavarni, in whose hands modern social
caricature, advanced by Cruikshank and Charlet, assumed its present
guise and became elegant. Mention must also be made of Grandville
(J.I.I. Gerard) (1803-1847), the illustrator of La Fontaine, and a
modern patron of the medieval skeleton; of Charles Joseph Travies de
Villers, the father of the famous hunchback "Mayeux"; and of Amedee de
Noe, or "Cham," the wittiest and most ephemeral of pictorial satirists.
In 1840 the pleasantries of "H.B." having come to an end, th