ot even now seem
to have lost their popularity! The original drawing was not a success,
and had to be touched up by Keene. It is mentioned here as affording
another good example of the careful way in which sketches are adapted.
The subject was a recruit joining a volunteer corps. The adjutant
inquires: "What company would you wish to be in?" to which the recruit
replies: "Oh, gentleman's co'pany, of course!" The recruit was left
untouched, but the adjutant was re-drawn by Keene. "I'm afraid there's
not much humour in the idea," wrote the artist with quaint modesty;
"still, I hope it's good enough for _Punch_!" Up to 1875 Mr. Chasemore
contributed thirty-three drawings, and in addition there was a belated
one in 1879; and then he passed over to "Judy," to which paper he
thereafter devoted himself.

The last recruit of the year was "Phiz'" young son, Walter Browne, who,
through his father's influence with Mark Lemon, was allowed to
contribute a few drawings, the first of which appeared on p. 148, Vol.
LV., and the last on November 20th, 1875. He was hardly out of his
studentship at the time--he was a pupil of Bonnat--and his work was
"young;" but he might have risen on _Punch_ had he not allowed himself
to be tempted away by a delusive offer of Tom Hood's of constant work on
"Fun," so that he closed the door in his own face, and had thenceforward
to look to news-drawing and book-illustration for advancement.

Mr. Briton Riviere, R.A., appeared in the month of January, 1868. Few
who have followed his career as painter would detect in him the
inveterate humorist; yet it was in that direction that his bent led him
while he was still a boy. When at Oxford he had amused himself of an
evening with making humorous illustrations in pen-and-ink, and a book
which he then so drew was shown by him in 1868 to his friend Mr. G. L.
Craik, one of the partners in the house of Macmillans, and the husband
of John Halifax, Gentlewoman. This book Mrs. Craik sent to Mark Lemon,
who invited the young graduate to the _Punch_ office, and adopting the
grotesque illustrations to "Mazeppa" at once, gave him a sort of running
commission to do incidental work, to which Mr. Riviere gladly responded
by a total of the twenty-three cuts--chiefly of wild animal
subjects--contributed by him through 1868 and 1869. Not only was the
work congenial, but the artist at the time was entirely dependent upon
illustration for his livelihood, for he was newly-married