oster's 'prentice mind, was never to draw ankle-joints on
female legs; but Mr. Foster did not remain a figure-draughtsman long
enough to benefit by this valuable advice. Brine was poorly paid, some
of his smaller cuts commanding a sum no higher than three-and-six; but
it is impossible to say, looking at these sketches, that his efforts
were seriously underpaid.

Another of the Old Guard was John Phillips--who is not to be confused
with Watts Phillips, a contributor of a later period. He was the son of
an eccentric old water-colour painter, well known in his day, and has
been identified as the scene-painter whom Landells introduced later to
the "Illustrated London News." Phillips, with Crowquill, illustrated
Reynolds' popular "continuation" of Dickens' Pickwick Papers, entitled
"Pickwick Abroad," and, like Brine, he received his _conge_ when the
transfer of _Punch_ to Bradbury and Evans took place.

And then there was by far the most important and valuable draughtsman of
the quartette--William Newman. He was a very poor man, who in point of
payment for his work suffered more than the rest; and when he asked for
a slight increase in terms, he was met with a refusal on the ground that
"Mr. John Leech required such high prices." He was an old hand at
pictorial satire, and was one of those who drew the little caricatures
in "Figaro in London" several years before. He was brought on to _Punch_
by Landells, but, owing to his lack of breeding and of common manners,
he was never invited to the Dinner, nor did any of his colleagues care
to associate with him. Unfortunately for him he was an extremely
sensitive man, and the neglect with which he was perhaps not unnaturally
treated preyed greatly upon his mind. For a considerable time he was the
most prolific draughtsman on the paper. Thus in 1846 there are no fewer
than eighty-seven cuts by him; in 1847, one hundred and twenty-seven; in
1848, one hundred and sixty-four; and in 1849, one hundred and
twenty-one. From the cut on _Punch's_ first title-page down to the year
1850 his work is everywhere to be seen, in every degree of importance,
from the little _silhouettes_ called "blackies," which usually
constituted little pictorial puns in the manner of Thomas Hood, and
which were paid--those of them which were good and funny enough to be
used--at the all-round rate of eighteen shillings per dozen. Instances
of his happy punning vein are the sketches of a howling dog chained to a
po