ison, in which are incarcerated Monsieur Rigaud and Signor John
Baptist. The effect of deep gloom in the cell is produced by the
"ruled-plate" method, and is quite Rembrandt-like. In contrast with
this, the illustration of "The Ferry," is a delightful country aspect,
with trees and winding river; and another plate entitled "Floating
away," an evening scene, the moon rising behind the trees, is quite
romantic. The old house in the last picture but one--"Damocles,"--again
shows Browne's appreciation of the picturesque architecture of bygone
times, in the effect of light from the setting sun as it falls upon the
house front, throwing into relief the quaint old carvings of door and
window.

The last work illustrated by "Phiz" for Dickens was _The Tale of Two
Cities_ (1859), containing sixteen etchings full of vigour, as the
character of the story justifies.

For some reason, at this time, a rupture was caused between author and
artist,[O] which resulted in the engagement of Mr. Marcus Stone and Mr.
Luke Fildes as illustrators of _Our Mutual Friend_ and _Edwin Drood_.
These accomplished painters avoided the old system of caricature, the
old, forced humour; but it is certain that their designs are less
intimately associated with the persons in the stories they illustrated
than those of "Phiz" with the earlier and more popular works of Dickens.

Having devoted the larger portion of the space at our disposal to a
description of the most famous productions of Browne's pencil, which are
prominent in the original editions of the Novels of Charles Dickens, we
can but briefly enumerate the plates he etched for Lever, Ainsworth, and
others.

[Illustration]

In Charles Lever's _Harry Lorrequer_ (1839) and _Charles O'Malley_
(1841), the uproarious mirth and jollity of Irish military life is well
portrayed by the needle of the artist. "The last night in Trinity" in
the latter work, is an example of this, wherein is seen the worthy
Doctor perched on a table, surrounded by a batch of Irish dragoons, and
being elevated by an explosion of combustibles. The horses in the
illustrations are admirably drawn.

In _Jack Hinton_ (1842) the artist shows remarkable force in depicting
the death of Shaun, and has well realized the humour of "Corney's Combat
with the Cossack."

_Tom Burke of Ours_ (1844) contains forty-four illustrations by "Phiz,"
many of which represent the scenes connected with the battles of
Austerlitz, &c., during the rei