Traveller," embellished
by Onwhyn, had just appeared; and the artist was beginning to bring out
his series of albums of plates, big and small, on all sorts of humorous
subjects. The time was, therefore, appropriate at which to embark on
independent illustration in _Punch_. But in the following year he
contributed not more than a sketch or two; and thenceforward, until he
finally laid down his pencil in 1870, he confined his artistic efforts
to his own happy ideas with but few exceptions--such as "Welcome, a
Charade; by W. Shakesides" (1850). Onwhyn died so late as 1886.

For four years, if we except two or three unimportant cuts contributed
by E. J. Burton in 1847-8-9, no new name appears upon the draughtsman's
roll. Then John Macgregor--the celebrated "Rob Roy"--who had begun to
contribute paragraphs and short articles in 1847, commenced adding
sketches, such as his "Silence in the Gallery," in January, 1848.
"Prince Albert's Hat" was also his, and others besides; and it is worth
remarking that the proceeds of these sketches and articles were given to
the police-courts, wherewith the magistrates might assist poor cases.

The year 1850 became of the first importance in the history of _Punch_.
Not that William McConnell and his gentle art would make the year
remarkable, for his early defection from _Punch_, and his premature
death from consumption, cut short a career which promised considerably
more than it achieved. Mr. Sala tells me that McConnell was a handsome
little fellow, bright, alert, and full of originality. He was always
exceptionally well-dressed--and with good reason, for his father, on
coming over from Ireland and settling in Tottenham Court Road, resumed
his trade of tailor. The youth sent in some sketches, which were highly
thought of by Mark Lemon. He was turned over to Mr. Swain for some
instruction in drawing on the wood, and subsequently took up his
residence in the engraver's house for a time; but, not living long
enough to prove his individuality, he remained to the end an imitator of
Leech. Perhaps that was the reason that he drew so small a salary from
_Punch_; at any rate, he always resented what he considered to be the
contumelious and shabby treatment meted out to him by Mark Lemon. But
for such money as he did receive, it must be admitted that he gave full
value in the fierceness of his cartoons on Louis Napoleon. He did much
book illustration, besides drawing for the Press, serious and comic-