l
draw when the pencil was tied to his fingers and answered the swaying of
his body. In 1861 are eleven of his sketches--initials, most of them; in
1862, but one or two; in the following year, sixteen; in 1864, eleven;
in 1865, five; and again in 1866, 1867, 1868, seven cuts, and one in
1869; altogether, a little over three-score drawings, besides three
full-page cuts in the Pocket-book of 1850. But, for all that, "Phiz"
died more than half forgotten. His biographer, indeed, had never heard
of his _Punch_ work; and even the paper which had been so kind to him,
and dedicated on July 22nd, 1882, two graceful obituary stanzas to
"delightful Phiz--immortal Phiz," entirely forgot to mention that his
facile pencil had been employed in _Punch's_ service.

A single cartoon came from Henry Heath (Vol. III.), who was well enough
known as a political caricaturist through having made many such plates
for Spooner, the publisher, in the Strand. Heath emigrated to Australia,
and Mr. R. J. Hamerton, who was soon to become a notable member of the
_Punch_ corps, filled the place he left, signing his "B. H." (Bob
Hamerton) to resemble as closely as might be the initials of the old
favourite. But when, later on, _Punch_ work came to Mr. Hamerton, the
Spooner caricatures were dropped. A couple of unimportant contributions
sent in under the initials "J. R." complete the record for 1842.

It was through Jerrold's and Lemon's friend, Joe Allen, to whom he
handed some of his pen-and-ink drawings, that Mr. R. J. Hamerton secured
his footing on _Punch_. This was in the middle of the year, and in the
opening number of the new volume appear his first contributions. For
some weeks they were signed "Shallaballa"--the itinerant Punch's first
cry on his jumping up before the public in his show, and apparently an
appropriate pseudonym; but when the artist was reminded by Mark Lemon of
the real significance of the objectionable word, he abandoned it for the
better-known picture-rebus of his name--a Hammer on the side of a Tun.

The only meeting of the _Punch_ men which he attended was that at the
"Whistling Oyster," next door to the "Crown," at the time when the
musical bivalve, as narrated in the description of the "Punch Club," was
the talk of the town. Mr. Hamerton, who was introduced by Mark Lemon,
and who made the fantastic portrait of it which was published in the
following number of _Punch_, remembers Douglas Jerrold reciting on that
occasion hi