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stablishment of a monthly magazine entitled "George Cruikshank's Omnibus." Of this he was the sole illustrator. The literary editor was Laman Blanchard; and in the "Omnibus," William Makepeace Thackeray, then a gaunt young man, not much over thirty, and quite unknown to fame,--although he had published "Yellowplush" in "Fraser,"--wrote his quaint and touching ballad of "The King of Brentford's Testament." The "Omnibus" did not run long, nor was its running very prosperous. George Cruikshank seemed for a while wearied with the calling of a caricaturist; and the large etchings on steel, with which between '40 and '45 he illustrated Ainsworth's gory romances, indicated a power of grouping, a knowledge of composition, a familiarity with mediaeval costume, and a command over chiaroscuro, which astonished and delighted those who had been accustomed to regard him only as a funny fellow,--one of infinite whim, to be sure, but still a jester of jests, and nothing more. Unfortunately, or fortunately, as the case might be,--for the rumor ran that George intended to abandon caricaturing altogether, and to set up in earnest as an historical painter,--there came from beyond the sea, to assist in illustrating "Windsor Castle," a Frenchman named Tony Johannot. Who but he, in fact, was the famous master of the grotesque who illustrated "Don Quixote" and the "Diable Boiteux" of Le Sage? To his dismay, George Cruikshank found a competitor as eccentric as himself, as skilful a manipulator _rem acu_, the etching-point, and who drew incomparably better than he, George Cruikshank, did. He gave up the mediaeval in disgust; but he must have hugged himself with the thought that he had already illustrated Charles Dickens's "Oliver Twist," and that the Frenchman, powerful as he was, could never hope to come near him in that terrific etching of "Fagin in the Condemned Cell." Again nearly twenty years have passed, and George Cruikshank still waves his Ithuriel's spear of well-ground steel, and still dabbles in aquafortis. An old, old man, he is still strong and hale. If you ask him a reason for his thus rivalling Fontenelle in his patriarchal greenness, for his being able at threescore and ten to paint pictures, (witness that colossal oil-painting of the "Triumph of Bacchus,") to make speeches, and to march at the head of his company as a captain of volunteers, he will give you at once the why and because. He is the most zealous, the most conscient
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