the Battle of
the Standard, and the latter the Cartoon of Pisa--soldiers bathing,
surprised by the approach of the enemy. Both these great works have
perished, but the general design of them has been preserved. In recent
times some of the most eminent designers of cartoons have been masters
of the German school,--Cornelius, Kaulbach, Steinle, Fuhrich, &c.;
indeed, as a general rule, these artists appear to greater advantage in
their cartoons than in the completed paintings of the same compositions.
In England cartoon-work developed considerably in 1843 and 1844, when a
competition was held for the decoration of the new Houses of Parliament.
Dyce and Maclise left examples of uncommon mark in this line. The
cartoon by Fred. Walker, A.R.A., made to advertise the dramatic version
of Wilkie Collins's _Woman in White_, is now at the Tate Gallery; and
cartoons by Ford Madox Brown are in the Victoria and Albert Museum,
South Kensington. (W. M. R.)

(2) "Cartoon" is also a term now applied to the large political drawings
in the humorous or satirical papers of the day. At an earlier period
satirical prints were styled "caricatures," and were issued separately.
Gillray, Rowlandson, the three Cruikshanks, Heath and others were
popular favourites in this class of design. Even the insignificant
little cuts by Robert Seymour in _Figaro in London_, the _diableries_ in
_The Fly_, and the vulgar and rancorous political skits identified with
the flood of scurrilous little papers of the time, were dignified by the
same term. The long series of _Political Sketches_ by "H.B." (John
Doyle) were the first examples of unexaggerated statement, and fair and
decorous satire. With the advent of _Punch_ and its various rivals (_The
Peep-Show, The Great Gun, Diogenes_ and the like), the general tone was
elevated. _Punch_ at first adopted the word "pencilling" to describe the
"big cut," which dealt variously with political and social topics. But
when in 1843 there was held in Westminster Hall the great exhibition of
"cartoons" from which selection was to be made of designs for the
decoration in fresco of the new Houses of Parliament, _Punch_ jocularly
professed to range himself alongside the great artists of the day; so
that the "mad designe" of the reign of Charles I. became the "cartoon"
of that of Queen Victoria. John Leech's drawing in No. 105 of that
journal was the first caricature to be called a cartoon: it was entitled
"Substance and Shad